Org's code lays out guidelines that set the standard for the industry
With little fanfare, the Producers Guild of America has cemented its status this year as the final word on a key question: Who’s a producer on Hollywood’s most important films?The 2,700-member group, despite the lack of collective bargaining agreements, has become the official go-to org for determining the names listed as producers of picture nominees when the Academy of Motion Picture Arts & Sciences makes its announcement Jan. 31. AMPAS announced last June that the PGA’s credit determination process would be the one it used on those nominations, with no more than three names. The Hollywood Foreign Press Assn. also agreed to use the PGA to decide the producers for its Golden Globes picture award noms. It’s the final step in an evolution that began seven years ago when the Oscar ceremonies saw five producers getting credit for “Shakespeare in Love.” As a result, rather than the Acad waiting for a determination to be made by a film’s producer team as it has in the past, the PGA will have already taken care of that complicated detail. Even though producers may privately grouse about the PGA, it’s a role the group relishes after half a dozen years of striving to put the brakes on credit proliferation. “Having the PGA process get endorsed by the Academy has changed the landscape in Hollywood,” says PGA exec director Vance Van Petten. “It’s shifted the fierce contest to be among the three named producers” away from the Acad and over to the PGA. The PGA’s Code of Credits process attaches specific weight to the producer functions for determining the “produced by” credit for features and the executive producer credit for TV:
- 30% for development;
- 20% for pre-production;
- 20% for production; and
- 30% for post-production and marketing.
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