“Bread and Butter” Work is Disappearing and Cost Pressures Mounting, But Production Companies are Still Essential

This is because good production companies aren’t just a booking service for freelance crew -- they’re genuine talent incubators.

That’s the view of Mint Films executive producer Matt Samperi, who told LBB that viewing prodcos as a “glorified booking service for freelance film crew” is a common misconception.

“Good prodcos are filled with creatives [who] love everything film and filmmaking,” Matt said. 

“We live for the rush of arriving on set and working with a team of exceptional craftspeople to produce something amazing. So much of this is tied up in relationships, creativity, and the craft of filmmaking.

“A good production company will find the best directors in their sphere, and nurture those directors in every way they can, to foster as many opportunities for their directors to be creating great work.”

Film Construction founding partner and director Perry Bradley added that developing the talent of directors they represent is a part of the job.

“We as a production company sell two things,” Perry said.

“One is our production services, but the other is the talent of the directors we represent. So for us, having a roster of directors and photographers who meet regularly, chat, interact – we get to mentor them.

“As a more senior director, I’m often assisting other directors. And Belinda [Bradley, Film Construction executive producer] works hard mentoring the photographer team, too.

“Filmmaking and photography can be lonely pursuits. Having a ‘family’ is centring and helpful for careers. We provide an umbrella structure and market you as a commodity and an artist, putting your work on our website, updating it, and taking agencies out to discuss the talent we represent.”

That’s why the production company eco-system remains vital for emerging filmmakers.

Sydney-based director Taylor Ferguson explained that her production company, Good Oil, helped her get her start.

“They signed me via a short film,” Taylor told LBB.

“I didn’t have any work at the time. It would’ve been really hard for me to just go out and get commercial work without them. They have long-standing relationships with different agencies to whom they promote their directors.”

Freelance photographer and filmmaker Cybele Malinowski added the utility of this relationship lies in freeing a director up to focus on their creative vision.

“The director fuels the project with their artistic creative vision, and the production company empowers its realisation with their experience and team,” Cybele explained.

“As the director shapes concepts and direction, the production company strategise[s] the 'how' within budgetary constraints. By building the right support system, the production company frees the director to focus on their creative vision before the shoot and to draw the best from talent and the cinematographer on set, ensuring all targets are met.”

But Cybele stressed that agencies and brands can underestimate the creative capacity of production companies, beyond the mere logistics.

“In actuality, great prodcos function as significant creative collaborators,” she said.

“I have had the pleasure of working with some incredible production companies over the years, with passionate and dedicated producers who have worked through the night with me if need be.

“Ultimately, this industry thrives on creativity and ingenuity. That inherent drive compels us to push boundaries and elevate our work. The crucial element is ensuring that agencies and brands recognise, appreciate, and respect this dedication and willingness to invest ourselves fully in the creative process.”

But what was once a stable ecosystem now faces unprecedented strain. Production companies find themselves squeezed between agencies’ growing in-house capabilities and directors exploring flexible arrangements.

“I don’t want to sound bitter, but it’s a difficult environment,” Perry explained.

“We’re increasingly being asked to work for free as budgets shrink. A script arrives, we assess the resources needed – but we can’t magically make grips, gaffers, or camera hire cheaper. We can negotiate deals, work efficiently, but costs are costs.”

These constraints have reshaped the market, and Perry said the “bread and butter” work – not high-end or award-winning, but what keeps production companies afloat – is disappearing, with agencies beginning to handle routine projects internally.

Additionally, the current landscape incentivises directors to work increasingly independently once established.

“We’ve learnt to be flexible,” Perry said. “We are open to any opportunities that help our photographers and directors -- if it grows their careers, we’ll try and facilitate it.

“Where it comes unstuck is when directors think, ‘Oh, a good production company means I’ll get lots of work without promoting myself.’ But you still need to push yourself as an artist, a filmmaker, or photographer.”

Matt agreed that, depending on the director, it sometimes makes sense to go freelance.

“A popular director with a killer reel might be keen to stay freelance -- free to call the shots and play to their strengths in their market,” he said.

“But that same director might benefit greatly from being repped by a big prodco who opens up new opportunities for them. That said, there’s always the risk that they join a roster and then see barely any briefs come their way! It’s never a straightforward journey, and I think that decision-making process is one that directors need to handle carefully.”

Ultimately, Matt expects to see a shift back towards freelancers collaborating with “various production companies”.

“Five years ago, this was a confusing and murky prospect for prodcos and agencies to navigate, but if done right, I think this works well for all parties,” he explained.

“It allows directors greater freedom to work broadly and for prodcos to continue offering amazing production services with fewer overheads -- especially important with decreasing budgets and so much competition.

“It allows agencies the freedom to work alongside the EPs and producers they love working with [and for] clients and agencies allows greater access to the incredible directors out there.”

Perry and Matt agreed that, at the end of the day, all parties should be most concerned with making the best creative work possible.

“We’d rather collaborate with creatives on the coalface, bringing our craft when needed,” Perry said.

“It’s tough being a production company today, but this is the path we’ve chosen – because it’s what we love.”