The Executive Producer of a film handles the finances of a project.

They bring in investors such as a studio or independent finance company, or they may invest their own capital. It is their responsibility to ensure that the production has the funding it needs throughout the lifespan of the project. They also serve as the liaison between the film’s financiers and the project’s Producers.

They are often considered the highest-ranking title on a production, and that typically is the case. That being said, even an Executive Producer may have to report to or take feedback from the production company or studio executives who brought them on board for the project.

To learn more about what it’s like to work as an Executive Producer, we spoke to:

• Grady Craig (Gasoline Alley, Slayers, White Elephant)
• Angela Mancuso (Happy Death Day, Happy Death Day 2U, Who Fears Death)

In addition to the funding they secure for a project, Executive Producers may also serve in a creative or supervisory role. “There are all kinds of Executive Producers. What I do is develop ideas,” Mancuso explains. “I try to develop them in what seems to be the appropriate format… Then, I get it into creative shape and bring it to a network and pitch and sell.”

In this capacity, they’ll find intellectual property (IP) and package the production by finding the right talent and format for the project. They’ll then take the project to studios and see if they can attract a buyer.

Executive Producers can also play an important role in selecting the project’s top talent, including well-known Actors and Directors, and in hiring Producers, Choreographers, and Accountants / Assistant Accountants for the project.

Regardless of whether they involve themselves in the creative needs of a film, EPs make sure that their project sticks to its budget and delivers on its creative promise.

What an Executive Producer makes on a project depends on multiple factors, including the scope of the production and its overall success.

A low-budget indie film will translate into a lower salary for an Executive Producer than working on a studio-backed blockbuster. For Executive Producers who receive a flat upfront fee for their services, this may be where their compensation for a project ends. They might even forego payment until the distribution phase when the film is released for audiences, allowing the funds they raise to go entirely to the production instead.

EP Betsy Beers breaks down what it means to executive produce for both film and television.

That being said, EPs often strike deals that provide a percentage of what a project makes, allowing them to make more on a film that performs well in theaters and through other forms of distribution like video on demand. “Generally, investors in film are offered 120% of their financial commitment,” explains Craig. “The return can be more or less than this based on how the film performs at the box office.”

Pending international sales, syndication, and other deals that provide revenue for a production, an Executive Producer can generally earn a sizable salary in comparison to other individuals associated with the film.

With the many differing pay structures and possible success outcomes, it’s hugely difficult to determine an annual salary range for an Executive Producer, especially given that many of them work on a project for several years at a time.

Hey, what do you think about trying our new Film Career HelperFilm Career Helper really quick? It’s totally free and could help get your career moving fast! Give it a try. It’s totally free and you have nothing to lose.

Being the person responsible for a project’s funding can feel like an overwhelming undertaking. If you love wearing that hat, though, you can find fulfillment and longevity as an Executive Producer.

No role in entertainment comes with guaranteed success–and that of an EP is no exception. It can be hugely challenging to find those with the financial resources to back your project. And that’s only the first step. Then you need to convince them that your production is one they should support with those resources.

That’s why becoming an Executive Producer goes hand in hand with having an absolute passion for the work. Because if you can’t convince yourself that you love it, you won’t convince anyone else either.

In looking over rankings of the most successful EPs¹ to date, you’ll notice that a fair amount of those on the list are known primarily as other types of creatives. Take for instance Steven Spielberg who we generally think of as a Director or Stan Lee who made his name as the founder of Marvel Comics.

This video provides a professional overview of prolific EP Kathleen Kennedy and insights on her career.

But then you have individuals like Kathleen Kennedy and Louis D’Esposito who have mainly made their careers as Executive Producers. Not coincidentally, each has strong working relationships with Spielberg and Marvel, respectively, which have undoubtedly impacted their success.

You don’t have to be the person behind the biggest blockbusters or movie franchises to be a successful Executive Producer, though. However, what these examples do show is how those driven to be EPs can reap incredible professional acclaim for their hard work.

Make no mistake; it’s hard work to be an Executive Producer. But if you go into this profession with that knowledge and are determined nonetheless to bring to the screen the stories that you think audiences must see, you’ll do well in this role.

The role of Executive Producer is one of the most powerful on a production, but as such, it often takes years of hard work to land this job title.

Though her talent and strong work ethic were discovered early into her career, even Kathleen Kennedy started as an Assistant to John Milius and Associate to Spielberg on her earliest films.

Meaning, the career path of an Executive Producer usually entails working one’s way up from entry-level positions like an Intern or Production Assistant to more intermediate roles like an Associate Producer to finally transitioning into the role of EP.

Because an Executive Producer has such significant responsibilities on a project, it takes time for them to gain the skills and know-how that will inspire confidence in others and allow them to be given that role.

What should the Executive Producer focus on more – story or money? This video breaks down the order of priorities.

While some EPs can be involved in the more creative aspects of a production, given that their primary role is to secure financial backing and use it accordingly, many aspiring Executive Producers start off their careers with business school.

If they want to work primarily in the world of film or television, some EPs might also choose to attend film school to understand better all the many elements that go into realizing a project from script to screen.

No matter the springboard to their career as an EP, those wanting to be part of the entertainment industry in this capacity should prepare for several years of “learning the ropes” and handling less important responsibilities as they gain more film business savvy, confidence, and other necessary skillsets.

It’s understandable that aspiring EPs might be eager to be the person to get a film greenlit and perhaps even have a hand in how it is ultimately realized on screen.

But as mentioned, it takes time for most individuals to become Executive Producers.

Whether a film costs $2,000, $200,000, or $2 million to make, that EP has a considerable sum of money that they are responsible for. Those who invest in a project want to know that their funds are being used wisely–and just as importantly, that they will see a return on their investment.

Bottomline: Executive Producers must prove themselves to be that responsible person who can make good on their promise to those backing a project that it can and will be a success.

Paula Wagner, another hugely successful Executive Producer, discusses the process of creating a film.

Of course, not all projects will be hugely profitable. But it’s on the shoulders of an EP to spend wisely every dollar invested in a project to give it the best chance of being successful.

Again, that is why many Executive Producers start off in the business world. That might mean actual business school, working in the professional business sector for a while, or both. An understanding of investment, ROI (return on investment), and all the many other money-minded elements that are involved with a production are critical knowledge for an emerging EP.

Just as important is knowing how to communicate with a host of individuals in both the business and entertainment worlds.

Executive Producers are the vital go-between for investors, studios, production companies, production creatives, and more. They will be the person others will look to for answers on how project dollars are being spent–especially if a production is running behind schedule or going over budget.

As a result, EPs must be comfortable being in constant communication with other high-level individuals on a project, or sometimes multiple projects, as well as having sometimes difficult conversations about money matters.

Lastly, Executive Producers must know how the world of film and/or television works. Who should get paid what. Where to cut expenses. How a project might translate on a global stage.

All of this is to say that working one’s way up from lower-level roles like Intern or Production Assistant is hardly a waste of time. In fact, it’s an important investment in one’s own career as they move towards becoming an Executive Producer.

Most Executive Producers do have some kind of collegiate background.

They may have gone to school for film, business, or another type of program entirely. For instance, Mancuso feels that studying psychology could be helpful for aspiring Executive Producers. “You have to know how people’s brains work and you have to be able to talk to people,” she explains. “If you can’t read those people and relate to them in some way, you’re not going to be a good Producer.”

Whatever their degree is in, they need to have solid skills in finance, organization, and team management.

In the rare scenario that an aspiring EP does not pursue higher education at the beginning of their career, it becomes all the more important for them to gain as much on-the-job training as possible.

That might mean interning at various production companies to better understand the business side of production. It may also mean taking on as many PA positions as possible to see firsthand how the day-to-day operations of a production happen in real-time.

Though perhaps challenging to find such a relationship, what can also greatly help an aspiring EP is to find a mentorship where they can shadow someone already working in the business as an Executive Producer who is willing to show them what the job entails.

Given that EPs must have great communication skills, it’s never too soon to start developing them through networking and making connections with others working in the industry. It’s likely also the best way to find that mentorship that can be immensely helpful over the course of one’s career.

The Producers Guild of America is a key resource for aspiring EPs. While membership into the PGA likely won’t happen for years to come, this organization offers several initiatives, including PGA Create, to nurture emerging Executive Producers.

Non-profit film organizations like Film Independent in LA and the Independent Filmmaker’s Project in New York may also be useful for developing professional relationships and growing your EP career. Impact Partners also provides an Emerging Documentary Producers Fellowship for those looking to build their careers in the doc space.