University of Amsterdam Faculty of Economics and Business

Master Thesis MSc Business Studies

Managing the commercial and artistic divide in the film industry: the role of the First Assistant Director

Evi Smits 6138993

August 2011 Supervisor: dhr. dr. J. J. Ebbers

Abstract
One of the key challenges in the cultural industries is to manage the division between art and commerce. In the film industry, this division is most strongly visible in the relationship between the director and the producer. This thesis examines the role of the first assistant director in managing the relationship between the commercial objectives of producers and the artistic objectives of directors in film production. Empirical data is obtained qualitatively through interviews with 14 Dutch first assistant directors. This data is compared to secondary data in the form of interview transcripts, resulting from interviews with directors and producers. As a result of being in the middle position between producer and director, the first assistant director experiences role conflict and role ambiguity. However, precisely because of this position the first assistant director is able to perform a mediating role and therefore proves to be valuable in coordinating the tension between art and commerce.

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Table of contents
Abstract ...................................................................................................................II Table of contents.....................................................................................................III 1. Introduction ......................................................................................................... 1 1.1 Motivation and discussion ............................................................................. 1 1.2 Research question and objectives .................................................................. 2 1.3 Research methodology ................................................................................... 3 1.4 Structure......................................................................................................... 4 2. Theoretical framework........................................................................................ 5 2.1 Organization theory ....................................................................................... 5 2.2 Role theory ..................................................................................................... 8 2.3 Managerial tension within organizations .....................................................10 2.3.1 Sources of managerial tension ..................................................................10 2.3.2 Managerial tension as a source for role conflict and role ambiguity .........12 2.3.3 Coordinating the managerial tension........................................................14 2.4 Tension between art and commerce in the film industry ............................15 2.4.1 Dual leadership in the cultural industries .................................................15 2.4.2 Dual leadership in the film industry ..........................................................16 2.4.3 The first assistant director .......................................................................17 3. Research methodology........................................................................................18 3.1 Research design and strategy .......................................................................18 3.2 Sample and data collection ...........................................................................20 3.3. Quality of the research.................................................................................21 3.4 Method of analysis ........................................................................................22 4. Results .................................................................................................................23 4.1 Profile of the first assistant director .............................................................23 4.1.1 Difference opnameleider en first assistant director ...................................23

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4.1.2 Careers.....................................................................................................23 4.1.3 Tasks and responsibilities .........................................................................24 4.2 Relationship director and producer .............................................................26 4.2.1 Dual authority ..........................................................................................26 4.2.2 Multiple objectives and functional interdependence ..................................28 4.3 Relationship first assistant director and director ........................................29 4.3.1 Responsibilities and expectations..............................................................29 4.3.2 Loyalty towards director...........................................................................30 4.3.3 Conflicts with director ..............................................................................32 4.4 Relationship first assistant director and producer ......................................34 4.4.1 Responsibilities and expectations..............................................................34 4.4.2 Loyalty towards producer .........................................................................35 4.4.3 Conflicts with producer ............................................................................36 4.5 Performing the middle role...........................................................................39 4.5.1 Successful performance of role .................................................................39 4.5.2 Role ambiguity..........................................................................................40 4.5.3 Role conflict .............................................................................................42 4.5.4 Bridging role ............................................................................................44 5. Discussion and conclusion ..................................................................................46 5.1 Summary of findings.....................................................................................46 5.2 Discussion of findings....................................................................................47 5.3 Implications...................................................................................................50 5.4 Limitations and recommendations for future research...............................52 References...............................................................................................................55 Appendix: interview protocol ................................................................................59

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1. Introduction
In this section, the subject of the thesis is introduced. First, the motivation for the research is explained and a discussion is provided on the relevant literature on the subject. Second, the research question and research objectives are explicated. Third, a brief description of the research method is provided. Finally, there is an outline of the structure of this thesis.

1.1 Motivation and discussion In the cultural industries, the division between art and commerce is a common problem. It is a conflict that emerges within different industries, like the game industry (Cohendet & Simon, 2007), music industry (Thompson, Jones & Warhurst, 2007), orchestra business (Glynn, 2000), television industry (Caves, 2003), theatre business (Eikhof & Haunschild, 2007) and the film industry (Delmestri, Montanari, & Usai, 2005). The cultural industries are characterised by symbolic goods and a volatile market. Creativity, flexibility and innovativeness are needed to conform to the constantly rapidly changing environment (Banks, Lovatt, OConnor & Raffo, 2000). The pursuit of profit is not the only business goal, rather satisfying consumers needs can provide a real challenge (Lampel, Lant & Shamsie, 2000). Good management is thus of great importance. On the one hand, artistic freedom is needed to maximize creativity, one of the most important resources within the cultural industries (Lampel et al., 2000). On the other hand, constraints in the form of time, cost and market are present. In order to achieve commercial success, effective production and economic viability is needed (Cohendet & Simon, 2007). This means, however, that the desired artistic value cannot always be obtained. The management of a cultural organization has to find a viable way of upholding this delicate balance (Cohendet & Simon, 2007; Lampel et al., 2000). The eternal battle between creatives and suits (Thompson et al., 2007, p. 625) is a problem much covered in the literature on cultural industries. Especially the nature of the conflict is discussed, however few have proposed solutions or ways of dealing with the problem of the division between art and commerce. In essence, the conflict between art and commerce is a conflict between individual roles (Eikhof & Haunschild, 2007). Business directors and artistic directors

are the two most powerful roles in cultural organizations (Dimaggio & Stenberg, 1985). In this dual authority structure, problems regarding maintaining a delicate balance become apparent. According to Jones and Deckro (1993, p. 227), one of the keys to understanding behaviour in any organization is to understand the roles, role expectations, role pressures and resulting role conflicts peculiar to a particular structural form. During work projects the coordination of role players is necessary (Baker & Faulkner, 1991) and roles, in their turn, are created by the organizational structure (Jones & Deckro, 1993). Therefore, organization theory and role theory are useful tools in analysing and coping with the conflict between art and commerce. Cultural organizations are not the only organizations coping with role problems. Organizational structures wherein two leaders or managers are placed at the same horizontal level, like dual leadership structures (Eckman, 2006; Reid & Karambayya, 2009) and matrix structures (Jones & Deckro, 1993; Sy & D'Annunzio, 2005), provide a source for role conflict and role ambiguity. This is due to the dual authority structure and the often conflicting objectives of the ones who possess authority (Rizzo, House & Lirtzman, 1970). Roles that are positioned in the middle between two managers, experience stress as a result of having to live up to multiple expectations (Rizzo et al., 1970). Nevertheless, being in a middle position, these roles may just be in the right place to act as a mediator between the two managers (Galbraith, 1974; Reid & Karambayya, 2009). Thus, investigating the conflicts related to the middle role and its potential in coordination the tension between business and artistic leader in the cultural industries, may offer fruitful insight for other organizational structures as well. Especially since the organization of the cultural industries is said to serve as an example for organizational structures within other industries (Lampel et al., 2000).

1.2 Research question and objectives In this thesis, I employ organization and role theory to address the general problem of the division between art and commerce with respect to the film industry, as a part of the broader cultural industries. The film industry is an industry characterised by a dominant organizational structure (project-based) and a clear division of roles (Whitley, 2006). The producer and director are the ones who fulfil the key roles and can be seen as the personifications of the conflict between art and commerce in the film industry (Delmestri et al., 2005). However, the role in the middle between the 2

two managerial roles, the first assistant director, has never been mentioned or examined in the literature on the subject. Probably, this role in the film industry can affect the relationship between the producer and director and thereby have an influence on the art and commerce conflict. Therefore, I want to contribute to the existing literature by examining a third role: that of the first assistant director. This role is chosen since the first assistant director is one of the leading positions, next to the producer and director, in the film creating process (Wils & Ziegelaar, 2005). The research question of this thesis is as follows: what is the role of the first assistant director in managing the relationship, and tension within that relationship, between the commercial objectives of producers and the artistic objectives of directors in film production? In order to answer the overall research question, the following sub questions are formulated: - What are the tasks and responsibilities of the first assistant director? - What are the relations and tensions between the producer and director? - What are the relations and tensions between the producer and first assistant director? - What are the relations and tensions between the director and first assistant director? Thus, the aim of this empirical research is to find out whether the middle role, in the form of the first assistant director, proves to be valuable in coordinating the conflict between art and commerce in the film industry, by using organization theory and role theory as a guideline. This is aligned with calls from various authors to focus more on organizational and individual work practices, in order to understand the relationship between art and commerce (Eikhof & Haunschild, 2007; Jeffcutt & Pratt, 2002; Lampel et al., 2000; Thompson, Jones & Warhurst, 2007). Both producers and directors will benefit when the desired artistic value is obtained without exceeding the boundaries of time and money. As a result of a better balance, much less time needs to be spent on discussing and sorting out conflict between the crewmembers (Eikhof & Haunschild, 2007).

1.3 Research methodology For examining the research question, a case study of the Dutch film industry is conducted. An inductive research approach is used, because I want to gain a rich understanding of the context and processes that occur in the film industry, with regard to the different roles that are present within that industry. The research design is 3

descriptive as well as exploratory; tasks and responsibilities of the first assistant directors are assessed and I explore the way in which the art and commerce problem is perceived and possibly coordinated by the first assistant director. Both primary and secondary data are used. Primary data is collected by doing face to face and semistructured interviews with 14 first assistant directors. This is complemented by secondary data that consists of interview transcripts, resulting from interviews with 25 film producers and 16 film directors. The two types of data are compared and analyzed, with the aim of assembling information on the relationship between the three roles and the conflicts that are present within these relationships. Data analysis is carried out by identifying key themes and patterns in the data, that are valuable in order to provide an answer to the research question. Interviewee quotations are included in the study to support the arguments.

1.4 Structure The structure of this thesis is as follows. Chapter 2 provides a theoretical framework, wherein organization theory and role theory are discussed first. Next, managerial tensions within organizations are addressed, including the effect of these tensions on organizational roles and the possible coordination of the tensions. Subsequent, organization theory, role theory and the subject of managerial tension are applied to the film industry. Problems regarding dual authority, and the resulting conflict between art and commerce, are treated and the role of the first assistant director is described. In chapter 3, the methodology of the qualitative research is discussed. The chapter specifies the research design and strategy, the data collection method and sample, the quality of the research and the method of analysis. Chapter 4 presents the results of the case-study of the Dutch film industry. The findings will be validated by using quotes from the interviews. In chapter 5, the results are discussed and a conclusion is provided, including the limitations of this thesis and recommendations regarding future research.

2. Theoretical framework
In this chapter, I discuss the theoretical framework. With respect to roles, some organizational structures are more likely to encounter conflict (Jones & Deckro, 1993). Usually this is due to tension between managerial roles, which extends to the rest of the organization (Reid & Karambayya, 2009). Employees that are trapped between the managers experience role conflict and role ambiguity, according to the literature. However, these employees may also be in just the right position to manage the tension between the managerial roles in a productive way. In order to gain an understanding of the dynamics of role stress within organizational structures, first organizational theory and role theory are discussed. Next, managerial tension in organizations is discussed followed by a specific example of an industry in which tension between roles frequently occurs: the film industry as a part of the broader cultural industries.

2.1 Organization theory The organizational theory literature often makes a distinction between three primary organizational structures: the functional structure, divisional structure and matrix structure (Jones & Deckro, 1993; Krijnen, 1979). An organizational structure that has received increasing attention recently is the project-based organization (Thiry & Deguire, 2007). Below, these four organizational structures are briefly discussed. In homogeneous and stable environments, it is the functional structure that flourishes. Within a functional structure, there is a high degree of centralization. Functional organizations consist of many hierarchical levels, with a small number of subordinates per supervisor (Bosch, Volberda & Boer, 1999). Policy is decided by the top management and the division of labour is based on knowledge (Krijnen, 1979). Departments are thus formed according to their technical expertise (Jones & Deckro, 1993), like a sales department and research and development department. Bosch et al. (1999) cite that functional structures are typically found in organizations that produce standardized products with a relatively long life cycle. The authors indicate efficiency as the main advantage of this type of structure. In addition, there is a low degree of functional dependence, since the functional structure minimizes overlap across the departments (Jones & Deckro, 1993). However, costs of coordination across the

departments are high (Jones & Deckro, 1993). Two other disadvantages, that are mentioned by Krijnen (1979), are that the coordination by the top management becomes more difficult when production increases and that the functional structure is not flexible. Last mentioned disadvantage is especially experienced when changes in the environment take place. In a more diversified environment, a divisional structure is the more appropriate organizational form (Bosch et al., 1999). Diversified markets and dynamic environments call for diversification strategies (Jones & Deckro, 1993). The divisional structure is able to satisfy this condition since the division of work is concentrated around products (Bosch et al., 1999). Thus compared to the functional structure, another formation of the departments is made (Krijnen, 1979); within the divisional structure departments are formed according to products and to each product a team of specialist is assigned (Jones & Deckro, 1993). Mintzberg (1980) states that the divisional form is typically found in large, mature organizations and is characterized by vertical decentralization, whereby a large portion of power is delegated from the top management to a set of largely autonomous divisions. These divisions carry full responsibility for the strategic decision making. The alleviation of top management tasks is an important advantage of the divisional structure (Krijnen, 1979). This results in relatively low costs of coordination. In addition, the teams of specialists are able to ensure timely delivery and respond to task problems quickly (Jones & Deckro, 1993). Krijnen (1979) reasons that the divisional structure is flexible, although the structure loses some of its flexibility in a situation wherein strategic adaptation of the whole organizations is needed. According to the authors, strategic decisions made by the top management are likely to evoke resistance of the divisions, especially when decisions are made that are not in line with the policy of the division. A structure that is said to possess the advantages that are accompanied with the functional and divisional structure, without adopting all the corresponding costs, is the matrix structure (Jones & Deckro, 1993). The matrix structure is a structure whereby authority is balanced between the functional hierarchy and the project organization (Ford & Randolph, 1992). As in the functional structure, specialized functional departments exist. In the matrix structure, however, this is supplemented with the autonomy of the divisions as in the divisional structure (Bosch et al., 1999). Within the matrix organization divisions consist of project teams that are added as a second layer to the traditional functional hierarchy (Ford & Randolph, 1992). This 6

means that employees permanently work in one of the functional departments and at the same time, can temporarily be placed to work at one of the projects (Krijnen, 1979). This results in employees working across various projects and reporting to different managers (Ford & Randolph, 1992). Matrix structures are typically found in organizations that produce products with a relatively short life cycle and operate in dynamic environments with many new product-market combinations (Bosch et al., 1999). A main benefit of the structure is that it allows a diverse group of technical experts to focus on a specific problem (Jones & Deckro, 1993). In addition, the internal communication runs smoothly because of the close relationships among departments and projects (Ford & Randolph, 1992). Moreover, the matrix organization is highly flexible for three reasons, according to Krijnen (1979). First, because of the permanent available means and persons, new projects can be realized over and over again. Second, the exchange of means and persons between projects can be made possible quite easily. Third, the resistance to change is likely to be small, since employees are used to change within this type of organization as a result of working across different projects. As a disadvantage, the matrix structure has a tendency to evoke behavioural problems, like power struggles and conflict both at the organizational and individual level (Jones & Deckro, 1993). This can be mostly attributed to the division of responsibilities and authority among those in charge of the functional side and those in charge of a project (Ford & Randolph, 1992). Where employees within the matrix structure are assigned to new projects after the completion of the previous project on a permanent basis, the project-based organization (PBO) is temporary (Ford & Randolph, 1992). The functional coordination, present in the matrix structure in addition to the work across project lines (Hobday, 2000; Thiry & Deguire, 2007), does not exist in the PBO. The PBO is a temporary organization, formed to achieve a specific purpose, that is dissolved as soon as this purpose is fulfilled (DeFillippi & Arthur, 1998; Ebbers & Wijnberg, 2009; Ford & Randolph, 1992; Whitley, 2006) . People with different skills are brought together to work on a specific project during a fixed period of time (Whitley, 2006). Goals are set in terms of outcome qualities, time and costs (Sydow, Lindkvist, & DeFillippi, 2004). PBOs are typically found in dynamic (Thiry & Deguire, 2007), risky (Whitley, 2006) and uncertain environments (Ebbers & Wijnberg, 2009). Two characteristics of the PBO, mentioned by Sydow et al. (2004), are the convergence of people with different backgrounds, knowledge and specialisms into a project team, 7

and the highly autonomous nature of the project team wherein a strict hierarchy is lacking. According to the authors, this should encourage a high level of creativity and innovation. Whitley (2006) agrees to this by stating that the PBO is a structure especially suited to the production of innovative products or services. Another advantage of the PBO is that it is suited for the integration of experts and specialized resources (DeFillippi & Arthur, 1998; Hobday, 2000; Sydow et al., 2004) in order to deal with uncertainty (Ebbers & Wijnberg, 2009) and perform complex and nonroutine tasks (Hobday, 2000). A much cited weakness of the PBO in comparison to functional organization structures, however, is its struggle with the integration of structure, knowledge (Thiry & Deguire, 2007) and organizational capabilities (Hobday, 2000; Whitley, 2006). The ability of the PBO to integrate structure, knowledge and capabilities is limited since the organization dissolves after the completion of the project. Also, time for reflection and documentation is scarce since it already takes a lot of effort from the participants to complete the project within the fixed period of time (Sydow et al., 2004). Each of the four discussed organizational structures determines the roles that are present within the organization (Jones & Deckro, 1993; Kahn, Wolfe, Quinn & Snoek, 1964). According to organization theory, every position within an organizational structure should have a specified set of tasks or responsibilities, that determines the role one occupies (Rizzo et al., 1970). The properties of organizational structures are used to shape formal work roles (Kahn et al., 1964; Morris, Steers & Koch, 1979). The formation and definition of roles allows supervisors and managers to provide guidance for subordinates and hold subordinates accountable for their performance (Rizzo et al., 1970). To gain a better understanding of these roles, role theory is discussed next.

2.2 Role theory As mentioned by Biddle (1986), role theory consists of different perspectives that are more often than not, unaligned. Nevertheless, role theory is a useful tool for understanding and coping with human problems, according to the author. Role theory includes functional role theory, symbolic interactionist role theory, organizational role theory, structural role theory and cognitive role theory. In this thesis organizational role theory is used since this addresses the roles of formal organizations: a system of positions and their associated roles (Rogers & Molnar, 1976, p. 598). Organizational 8

role theory is rooted in the book of Kahn et al. (1964). The authors explain that a person holds a certain position within an organization and that the activities that are associated with this position make up a persons role. According to Kahn et al. (1964), a role is inevitably linked to other roles within the same organization. Linkages between roles exist, for example, as a result of the hierarchy of authority. People hold expectations to the other roles within an organization, because there usually is some form of interdependence between roles. A person occupying a role is expected to perform the associated set of tasks and make decisions that fit the role (Rogers & Molnar, 1976). From the perspective of role theory, an organization can be called a system of social constraints in which each role is influenced by the surrounding roles (Jones & Deckro, 1993). However, the expectations projected to a certain role may vary substantially, which may result in role conflict (Jones & Deckro, 1993; Rogers & Molnar, 1976). In addition, role ambiguity may occur when sufficient or complete expectations to guide behaviour are lacking (Biddle, 1986). By Biddle (1986, p. 82) role conflict is defined as the concurrent appearance of two or more incompatible expectations for the behaviour of a person. In other words, role conflict arises when the behaviours expected of a person are not consistent (House & Rizzo, 1972; Rizzo et al., 1970). Role theory also addresses the subject of role ambiguity. As mentioned earlier, organization theory states that every role in an organization should have a specified set of tasks or responsibilities. In order to make decisions and perform well, an employee needs to know what is expected from him or her from the superior (Rizzo et al., 1970). When the employee does not possess the necessary information needed to perform or complete the required set of tasks and responsibilities, role ambiguity arises (Rizzo et al., 1970; Tarrant & Sabo). Morris et al. (1979) state that it is possible to experience role conflict and role ambiguity at the same time, since the perception of incompatible expectations associated with role conflict, may be linked to an element of role ambiguity that includes uncertainty about the outcomes of one's behaviour. Research even demonstrates that an increase in role conflict causes an increase in role ambiguity and the other way around (Rogers et al., 1994). Role conflict and role ambiguity are both forms of role stress (Tarrant & Sabo, 2010). Tarrant and Sabo (2010) indicate that to some extent, stress is needed for an individual to evolve; to control and develop skills and capabilities. Nevertheless, high levels of role stress can produce negative results. The existence of role conflict and 9

role ambiguity can lead to decreased individual satisfaction and decreased perceived organizational effectiveness (House & Rizzo, 1972). In addition, they are positively correlated with anxiety and propensity to leave, and negatively correlated to effective performance (Rizzo et al., 1970). In their meta-analysis, Jackson and Schuler (1985) find support for these consequences and in addition, find a negative relationship between role conflict and role ambiguity and organizational commitment and performance, although they state that the negative relationship between role conflict and ambiguity and performance is at best modest. Also, role ambiguity leads to dissatisfaction with the role and a distorted reality (Rizzo et al., 1970). Role conflict and role ambiguity are, thus, often linked to undesirable outcomes for the members of the organizational as well as the organizational performance (Rizzo et al., 1970). However, Biddle (1986) warns readers to not blindly accepts these conclusions since role conflict has not been explored in many settings yet. Questions remain about the scope and effects of role conflict. Furthermore, Tubre and Collins (2000), who revisited Jackson and Schuler (1985) with a larger database, find that the relationship between role conflict and job performance is negligible. Consistent with Jackson and Schuler (1985), their results do reveal that there is a negative relationship between role ambiguity and job performance. Given the reasonable high correlation (-.26) between the two variables, Tubre and Collins (2000) posit that job performance could be substantially increased due to attempts in reducing role ambiguity. However, perceptions of role ambiguity could influence perceptions of performance; the perceived performance of individuals who perceive high levels of role ambiguity, may be worse than the performance actually is (Tubre & Collins, 2000). The effects of role conflict and ambiguity on organizational performance are not re-examined by the authors.

2.3 Managerial tension within organizations 2.3.1 Sources of managerial tension The most mentioned sources of role conflict and role ambiguity within an organization are the existence of a dual authority structure, the pursuit of multiple objectives and unclear roles (Rizzo et al., 1970). These sources are likely to be present in an organizational structure wherein two leaders or managers are placed at the same horizontal level, like dual leadership structures (Eckman, 2006; Reid & Karambayya, 2009) and matrix structures (Jones & Deckro, 1993; Sy & D'Annunzio, 2005). 10

Following Reid and Karambayya (2009), I expect that the challenges faced in dual leadership structures, resemble the problems that are encountered in the matrix structure. Within these structures, there is a constant need for balancing differences, resulting in tension between the two managers (Reid & Karambayya, 2009). For example, authority within a matrix organization is split between two managers: the functional manager and project manager. The functional manager is concerned with the functional line of the organization across projects and the assignment of resources to the projects, while the project manager is responsible for the succeeding of the project and the use of the resources for those particular projects (Jones & Deckro, 1993). The two managers, thus, differ in their objectives, which results in tension and power struggles between the managerial roles (Butler, 1973; Ford & Randolph, 1992; Jones & Deckro, 1993). Sy and D'Annunzio (2005) conclude that both top-level and mid-level management indicate ambiguous authority, unclear roles and the misalignment of goals and objectives as three important challenges of the matrix. First, difficulties reported as a result of the dual authority structure are: confusion about final authority, delayed decision-making processes, indistinctness on accountability issues, and managers who are not used to share decision rights. The stated problem is that managers within the matrix structure can have responsibility without having authority. As an example the authors mention a manager who has the responsibility to develop a global policy, but does not have the authority to implement this policy at regional levels. Second, the study indicates that confusion over roles and responsibilities are present in almost every matrix organization. This leads to misidentification of the boss, unclear job descriptions and guidelines, and uncertainty about who to contact for information. The problem of unclear roles is significantly more reported by mid-level managers than top-level managers. This is explained by the difficulties that arise during the transition of the organization to a matrix structure. Top-level roles are clearly determined and defined after the transition, while the same does not happen for mid-level roles. Executives expect mid-level managers to adapt to change when necessary, but the problem is that these managers need guidelines from the executives in order to be able to adapt to change. Third, a reported problem of the matrix organization includes conflicting objectives between the dimensions of the matrix. According to the questioned managers, this involves insufficient processes to align goals, inadequate communication between matrix dimensions and a lack of 11

coordination across work plans. The suggested solution to this problem is a constant communication of the organizations vision and objectives to the employees, to make sure that objectives and goals are aligned. This may help to minimize conflict and clarify ambiguity (Sy & DAnnunzio, 2005). Something that possibly reinforces the tension, created by multiple lines of authority and misaligned objectives, is functional interdependency (Butler, 1973; Pondy, 1967). Pondy (1967) states that business dimensions are functionally interdependent when they have to make use of the same facility or service like development or production; when there has to be consensus about decisions related to the joint activities; or when input is needed from one dimension in order to continue work in the other dimension. According to Morris et al. (1979, p. 62), roles within organizations are functional interdependent when an individual is directly dependent upon the work of others to complete his or her own task assignments. When functional interdependent business dimensions or roles have different objectives, a source for tension exists (Pondy, 1967). These tensions, however, do not result in role conflict and role ambiguity according to Morris et al. (1979), who do not find functional dependence to be a significant predictor of role conflict and ambiguity. On the one hand, managerial tension, due to dual authority, the pursuit of multiple objectives and functional interdependence may create role conflict and ambiguity for employees that are in the middle position between two managers (Kahn et al., 1964; Rizzo et al., 1970). This is discussed in more detail in paragraph 2.3.2. On the other hand, employees that are in the position of being in the middle, may have a role in managing the tension between the managers (Galbraith, 1974; Reid & Karambayya, 2009). This is discussed in more detail in paragraph 2.3.3.

2.3.2 Managerial tension as a source for role conflict and role ambiguity In an organization with a dual authority structure, there is a violation of the principle of unity of command (Ford & Randolph, 1992; Jones & Deckro, 1993). This principle states that there should be one leader and one consistent set of objectives (Rizzo et al., 1970) and that every subordinate should be assigned to a single boss (Ford & Randolph, 1992, p. 275). In classical organizational structures, like the functional and divisional structure, the principle of unity of command holds, but within the more complex, project-driven structures, this principle is likely to be violated (Rizzo et al., 1970). A difference between project-driven structures has to be noted; although the 12

matrix organization is inevitably accompanied with a dual authority structure, this does not necessarily apply to the PBO. A violation of the principle of unity of command is related to role conflict and ambiguity within an organization (Morris et al., 1979; Rizzo et al., 1970; Tarrant & Sabo, 2010). Jones and Deckro (1993), who developed a framework for examining role conflict in a project-driven organization, state that within a dual authority structure employees are confronted with multiple reporting lines as a result of which employees may suffer from multiple, and often incompatible, orders and objectives. They may undergo stress from the position of being in the middle (Rizzo et al., 1970). For example, within a matrix organization, functional specialists are assigned to projects according to their skills (Jones & Deckro, 1993). When assigned to a project, these specialists have to report both to the functional manager and the project manager and are, therefore, in the middle between two managers. They have to live up to the expectations of both managers, who differ in their objectives and who both identify their objectives as important. To live up to the expectations and demands of the one manager, inevitably means falling short in meeting the expectations and demands of the other manager. This creates role conflict for the functional specialist (Jones & Deckro, 1993). Another example can be found in the research of Sy and DAnnunzio (2005), who describe a brand manager of an automotive manufacturer, that has to report to the vehicle program manager as well as the functional manager. The former manager is responsible for profit and loss, while the other manager is responsible for the number of vehicles sold. This may result in discrepancy for the brand manager, since he or she will not always be able to meet both objectives simultaneously. In terms of management, Rogers et al. (1994, p. 21) argue that in order to decrease role conflict and ambiguity employees must have a clear chain of command that clearly delineates what decisions should be referred to management and what decisions employees are allowed to make themselves. In sum, the literature assumes that, especially in dual leadership structures and project-driven structures, role conflict and role ambiguity are likely to arise as the result of dual authority, multiple objectives and functional interdependence. However, when taking into account the negligible relationship between role conflict and job performance, found by Tubre and Collins (2000) and the warning of Biddle (1986) to not blindly accept the negative effects of role conflict, it seems that a further examination of the position in the middle is in place. The employee who is likely to 13

experience role conflict and ambiguity as a result of tension between two managers, may also be just the right person to coordinate the tension-loaded relationship between the two managers.

2.3.3 Coordinating the managerial tension To start with, some authors state that conflict is not necessarily a bad thing. Pondy (1967) argues that the conflicts following from project-driven organizational structures, are not necessarily bad as long as they are managed properly. If managed properly, this process results in higher levels of coordination and an ability to make complex decisions more effectively than do simple bureaucratic procedures (Joyce, 1986, p. 539). In addition, the discussed violation of the principle of unity of command, may be an opportunity to gain recognition and visibility for some, instead of causing role stress (Rizzo et al., 1970). Also, Pondy (1967) indicates that conflict may be functional for the organization as well as the individual. Besides, according to Faulkner (1983), the image of self and that of work do not have to be closely linked. From the perspective of role theory, it is assumed that an employee finds it difficult to view the self separate from work. However, if an employee is able to take some distance from work, the degree in which role conflict and ambiguity arise may be decreased, the author states. Thus, the conflict that employees close to the two managers experience is not necessarily overtly present. Nor does conflict merely produce negative effects. These employees may even fulfil a mediating role. Galbraith (1974) proposes that the coordination of interdependent roles, such as the two managerial roles, can be improved by the creation of an integrating role. Such a role could equalize power and increase the joint decision making processes. Also, Reid and Karambayya (2009) indicate that mediation can be used as a technique for conflict management. A few conditions are attached to this mediating role however, according to the authors. The integrating role should be fulfilled by a person who can exercise expert power in the form of persuasion and informal influences (Galbraith, 1974, p. 34) and the mediating aspect should not require the employee to move outside his or her normal role (Reid & Karambayya, 2009). Moreover, Jones and Deckro (1993) indicate that an employee, in the middle between two managers, needs to possess the ability to deal with role stress effectively. To conclude, the role of the employee trapped between managerial tensions is not clear. On the one hand, the literature suggests that this person is negatively influenced 14

by the tensions, resulting in role conflict and role ambiguity. On the other hand, this person may exert a positive influence in the coordination of the tensions. In the next section, a concrete example of an industry is discussed in which tension between two leaders is common and a middle position is clearly present: the film industry.

2.4 Tension between art and commerce in the film industry The film industry is part of the cultural industries, in which dual leadership structures prevail (De Voogt, 2006). First, the tensions within the cultural industries as a whole are discussed briefly. Subsequently, this discussion is applied to the film industry. Finally, the middle position in the film industry is addressed.

2.4.1 Dual leadership in the cultural industries Within the cultural industries, there is a division between art and commerce, resulting in a constant tension between the creative and the commercial side (Caves, 2003; DeFillippi, Grabher & Jones, 2007; Eikhof & Haunschild, 2007; Reid & Karambayya, 2009; Thompson et al., 2007). Authority is usually split between a business director and an artistic director: the two most powerful roles in cultural organizations (Dimaggio & Sternberg, 1985). These two directors differ in their objectives. On the one hand, the business directors carries responsibility for the commercial objectives. Within cultural production, constraints in the form of time, cost and market are present. In order to achieve commercial success, effective production and economic viability is needed (Cohendet & Simon, 2007). On the other hand, the artistic director is responsible for creativity and innovativeness, which are both important in order to respond to the constantly rapidly changing environment within the cultural industries (Banks et al., 2000). Artistic freedom is needed to maximize creativity (Lampel et al., 2000). Both business and artistic objectives should be kept in mind for a cultural organization to survive in the volatile market (Banks et al., 2000). Since the needed leader competencies are difficult to unify in one person, dual leadership structures exist, accompanied with tension between the two executive leaders (De Voogt, 2006). Achieving the commercial objectives almost inevitably means compromising on the artistic objectives, and the other way around (Jones & Deckro, 1993).

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2.4.2 Dual leadership in the film industry Project-based organizations are dominant in the film industry (DeFillippi & Arthur, 1998; Ebbers & Wijnberg, 2009; Whitley, 2006). In the past, major studios employed their actors under long-term contracts and employed a permanent staff of technicians, custom designers and script writers. In the 1950s, however, the Hollywood studios gave way to project-based filmmaking when they considered the costs of employing and maintaining permanent staff too expensive (DeFillippi & Arthur, 1998). As Ebbers and Wijnberg (2009) state, the project-based organization is an attractive organizational structure in the film industry wherein demand is difficult to predict, activities are mostly non-routine and the distribution of success and failure are highly skewed. People involved in film making can be classified into one of three occupational niches, according to DeFillippi and Arthur (1998). Directors and producers are called the principals and are involved in the formation of the organization and its strategy. The second occupational niche is that of the professionals, who are hired by the principals and all make their contribution to the strategy, either in the business domain or the artistic domain. Thirdly, there are the apprentices who are engaged with the routine, yet necessary tasks. However, the three niches do not function independently. Rather, tasks and roles in film production are interdependent (Ferriani, Corrado & Boschetti, 2005). Each individual involved contributes its own unique talent, input and technical expertise to a collaborative project. Each specific role is dependent on the skills and collaboration of the other roles in order to accomplish the project task (Ferriani et al., 2005). As principals, the producer and director are the ones who fulfil the key roles in film production (Baker & Faulkner, 1991). They form the leadership duo and can be seen as the personification of the conflict between art and commerce in the film industry (Delmestri, Montanari & Usai, 2005). The producer is in charge of the financing and organization of the film. He or she is the one who hires the film crew, including the director, and tries to keep peace when there are tensions between crewmembers. When the film is finished, the producer is in control of the marketing and release strategy, including scheduling the previews (Squire ,1986). According to Squire (1986, p. 28), producers nowadays can be best described as entrepreneurs trained in business who have learned to put deals together. The director is the artistic leader of the film process. He or she has the privilege to mold and shape the film. The 16

role of the director includes hiring the actors, rehearsing with the actors, maintaining close contact with the scriptwriter, deciding which take is best and supervising the sounds of the film. In certain tasks, the roles of producer and director overlap. Together they look at the budget, decide about the look, texture and visual style of the film, figure the number of shooting days and fine tune the editing process. However, the overlapping tasks vary with each film project (Squire ,1986). Hence, a dual authority structure, the pursuit of different objectives and functional interdependence are present in the film industry. As mentioned earlier, this provides a source for role conflict and role ambiguity for the role in the middle. In the film industry such a role is present in the form of the first assistant director.

2.4.3 The first assistant director The first assistant director is one of the leading positions, next to the producer and director, in the film creating process (Wils & Ziegelaar, 2005). The first assistant director is included in the directors immediate family, but is also accountable to the producer. He or she is in control of the actual functioning of the set (Squire, 1986). The first assistant director is likely to experience role conflict and role ambiguity as a result of a conflicting set of demands coming from the producer on the one hand and the director on the other hand. As Faulkner (1983, p. 143) puts it: it is a necessary evil when working directly with people who face the conflict between business and creative side of filmmaking. However, being in a position just under the producer and director, I expect that the role of first assistant director can be valuable in coordinating the tension between art and commerce. The role for the first assistant director has never been examined. Next to the producer and director, I add this third role in order to deepen our understanding of the dynamics of this role and its possible mediating effects in finding a balance between art and commerce in the film industry.

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3. Research methodology
In this section, the research methodology is presented. First, I will elaborate on the chosen research design and strategy. Second, the sample and the data collection process are described. Third, the quality of the research is addressed by discussing to what extent credibility, transferability, dependability and confirmability are ensured. Fourthly, the method of analysis is discussed.

3.1 Research design and strategy The aim of this research is to explore the role of the first assistant director in managing the conflict between art and commerce in the film industry. An inductive research approach with qualitative data is used, because I want to gain a better understanding of the nature of the art and commerce problem and the way in which this is perceived and (possibly) managed by the first assistant director. An inductive approach allows for the development of understanding and permits the research to change while it progresses. A disadvantage of this approach, however, is the small sample size, as a result of which generalizability is limited (Saunders, Lewis & Thornhill, 2009). The purpose of this research is descriptive as well as exploratory. For this research it is important to know what is the role of the first assistant director and why this role is valuable in relation to the conflicts that are present in the film industry. A descriptive research design is used to provide a detailed picture of the tasks and responsibilities of the first assistant director. In addition, an exploratory research design is used to examine the relations between the first assistant director, director and producer. An exploratory design is accompanied with the advantage of gaining new insights on the subject, and flexibility which allows for intermediate adaptations (Saunders et al., 2009). A combination of both designs enables me to reach the research objectives and provide an answer to the research question. Two types of data are used, primary and secondary, that both consist of interviews. The research strategy used to collect primary data is a case study of the Dutch film industry. A case study is conducted because of its usefulness in gaining an understanding of the context and the processes that occur in the film industry. Qualitative data is collected by conducting face-to-face and semi-structured

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interviews with first assistant directors. Semi-structured interviews are used since the interview questions are open-ended and variation in the order of the questions may be needed. Moreover, it allows me to collect a rich and detailed set of data (Saunders et al., 2009). The process of data collection for the primary data is described in paragraph 3.2. Secondary data refers to data that is originally collected for other purposes (Saunders et al., 2009). The qualitative secondary data used in this research consists of written materials in the form of interview transcripts. First of all, I use the interview transcripts that follow from a series of semi-structured interviews with Dutch film producers. For this series, 25 film producers were interviewed in the period of February - June 2007. In addition, I use the interview transcripts that follow from a series of semi-structured interviews with Dutch film directors. For this series, 14 film directors were interviewed in the period of February - September 2008. Both series of interviews were held with the aim of understanding careers and partnerships within the film industry. Regarding partnerships, the focus is on the relationship between producer and director. A main advantage of the use of secondary data is that it allows for comparison with the primary data, thereby triangulating the findings and placing them in a more general context. Furthermore, re-analyzing secondary data may lead to unforeseen or unexpected insights (Saunders et al., 2009). The two types of data can be well compared, because of the similar interview methods and the use of raw data in the form of transcript (Saunders et al., 2009). The purpose of the research for which the secondary data was collected is thus not likely to have had an impact on the presentation of the data, unlike secondary data in the form of a report. A disadvantage of the use of secondary data is that processes within the film industry may have changed in the meantime. However, the period of time between the collection of the primary data and secondary data is relatively short (four years and three years), thus it is not likely that processes have changed considerably. Another disadvantage is that I am limited to the information the secondary data offers. The interview transcripts may not include the exact information that is needed in order to answer the research question. For example, in the interviews with film producers several roles in the film industry are discussed, but the role of the first assistant director is not included. This would have been very useful for this research.

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3.2 Sample and data collection Data for this research is collected qualitatively through the approach of first assistant directors in the Dutch film industry. The population consists of all the first assistant directors present in the Netherlands, of which 14 first assistant directors are interviewed for this study. The Assistant Directors Club (ADC), the Dutch branch organization of assistant directors, is used to approach members of the population. Not every first assistant director is a member of this organization, nevertheless it is a useful tool in collecting contact details. The ADC has 47 members, although not all of them are first assistant directors; also second en third assistant directors are part of the organization (these functions will be explained in chapter 4). When excluding these last mentioned groups, 39 first assistant directors remain. Expecting a response rate of 50%, I randomly selected 30 first assistant directors to send a letter of request to. An answer was received from 16 respondents, implying a response rate of 53%. From the 16 respondents, 3 respondents were not interviewed. One respondent could not find the time to do the interview, the other respondent was no longer working in the film industry and the last respondent was no longer performing the function of first assistant director. In addition to these 13 respondents, one first assistant director was interviewed who is not a member of the ADC, but was recommended to interview by another respondent. Eventually, the sample consists of 14 respondents, that were interviewed in the period of April - June 2011. The interviews took place in Amsterdam, The Hague, Utrecht and Haarlem. In these cities, 8 interviews were conducted in a cafe, 3 interviews were conducted in the office of the respondent and 3 interviews were conducted in the home of the respondent. The sample consists of 12 men and 2 woman, with an average age of 43.6. The year in which the respondents became professionally active in the film industry lies between 1967 and 1996. All 14 respondents work freelance and 5 of them also have their own company. All of the interviews more or less followed the same interview protocol (see Appendix). The interview consists of 51 open-ended questions, that were prepared by using the theory described in chapter 2. Questions were asked about the career of the respondent, rewards, the formation of film projects, the pre-production, the production, loyalty, and collaboration and relationships with other roles on set.

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The last question provided the respondent with the opportunity to talk about subjects that they thought were not covered (well-enough) in the rest of the interview. Because of the semi-structured nature of the interviews, some of the questions were changed or removed and new questions were added during the period that the interviews took place. Also, the order of the question asked varied from interview to interview. The interview had a duration of approximately one hour. First, the interviewee was asked permission to record the interview. In addition, terms of confidentiality were addressed. Anonymity is ensured in this study, which enhances the feeling of the respondent to be able to say anything. The interviews were audio recorded, so that no information would be lost. A transcript was made of each interview by listing to the audio recordings.

3.3 Quality of the research In this paragraph, four measures of research quality are evaluated with respect to this thesis: confirmability, credibility, transferability and dependability (Guba, 1981). Within the limits of time, careful attention was paid to safeguard these quality measures. To ensure confirmability, the triangulation technique is used. Triangulation refers to the use of different data collection techniques within one study in order to ensure that the data are telling you what you think they are telling you (Saunders et al., 2009, p. 146). The combination of a case study and secondary data in this study, enhances the confidence that can be placed in the results. By analysing the results from different points of view, I am able to give a more balanced and detailed picture of the situation. To ensure credibility, member checks were done; the interview transcripts were sent to the corresponding respondents and prior to the preparation of the final version, the research report was sent to all respondents in order to give them to opportunity to agree or disagree with the findings. In addition, I have had the opportunity to visit a film set, so I was able to observe the film process in practice. This facilitates the interpretation of the findings. Moreover, the triangulation technique, as described above, contributes to credibility as well. On the other hand, I was not able to spend an extended period of time at the site (the film set as well as each interview location), which limits the time the interviewees had to feel at ease. Furthermore, extended interaction would have given me the time to gain a better 21

understanding of, and pay more attention to the characteristics that are essential for this research (Guba, 1981). To ensure transferability, this section provides a detailed portrait of the setting in which the research is conducted. This is helpful in assessing the generalizability of the sample to the population and to other contexts. It has to be kept in mind, however, that behavorial phenomena are inevitably context bound, so generalization of the results must be made with caution. To ensure dependability, I provide an audit trail in this section, which is open to external scrutiny. Through the documentation of data, methods and decisions about the research, the research can be repeated at another time and place (Guba, 1981). In addition, the use of multiple methods following from the triangulation is demonstrated to enhance dependability (Guba, 1981). However, both types of data consist of interviews. It would have been better to complement the interviews with, for example, a survey research since other types of data may provide different perspectives on the subject.

3.4 Method of analysis The data is analysed by thorough examination of the interview transcripts. Both the primary and secondary data are used to develop categories, which emerge from the theory as well as the data itself. In order to structure the data the relevant data are attached to the appropriate categories and within the categories key themes or patterns are identified. Results are based on the analysis of both the primary and secondary interview transcripts and supported with interviewee quotations. It is important to note that the analysis is only focused on the pre-production and production phase. The postproduction phase is excluded, because the first assistant director is not involved in this phase. Furthermore, mainly the roles of the first assistant director, the director and the producer are addressed. Although other roles are briefly discussed, they are not part of the main focus of this study. I expect to find that the first assistant director experiences role conflict and role ambiguity as a result of conflicting expectations, while at the same time he or she fulfils a valuable role in managing the relationship between the producer and director. The results lay the foundation for further exploration on the subject.

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4. Results
4.1 Profile of the first assistant director 4.1.1 Difference opnameleider en first assistant director Although the most appropriate Dutch translation of the term first assistant director seems to be opnameleider, there are two big differences between the roles. The first assistant director is involved in the pre-production and is responsible for planning the film, while the opnameleider is not involved in the pre-production and is merely an executor of the films planning. The opnameleider executes what is planned by the producer and the first assistant director executes what is invented by himself (First assistant director K). The second difference it the type of assistant that is accompanied by the two roles. The first assistant director is accompanied by two assistants. I also have a second assistant director who is placed in the office and does the clerical work () In addition, there is a third assistant director, who stands next to you on set, only during the production (First assistant director I). The opnameleider is only accompanied by one assistant; the assistant opnameleider, who can be compared to the third assistant director. Two respondents remark that the term opnameleider only exists in the Netherlands. In the rest of the world it is just called first assistant director, with or without preparation time (First assistant director L). Although a distinction can be made, every interviewee perceives him or herself as a first assistant director because there are responsible for the planning most of the time. For this reason, the term first assistant director will be used in the remainder of this thesis, unless the term opnameleider is mentioned in one of the interviewee quotations.

4.1.2 Careers Only two respondents have a degree that is related to the film business. For the rest of the respondents, no similarities in the type of education can be observed. Their educational backgrounds differ from having no degree; to law; to mechanical engineering. Most of the respondents seem to derive from the production department, although this is hard to say since more than half of the respondents have performed roles on the production side as well as the directing side. Performed roles on the

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production side include assistant production, assistant location manager and line producer. Performed roles on the directing side include assistant director, assistant set dresser, assistant costume, assistant in lighting, assistant in sound and screenwriter. Deriving from the directing side is possibly advantageous, according to one respondent. I did not come from the production side, as most of my colleagues, but from the set; from the technical side that caused me to have more credits with the film crew. People from production do not have that much credit since they know little about the execution, they are not on set, so they do not possess the practical feeling and know how (First assistant director H). Production assistant is the role most mentioned by the respondents as a starting point for their film careers. The two roles that are mostly performed as a stepping stone to first assistant director are assistant opnameleider and opnameleider. There are three ways to switch from one role to another. The first is taking initiative yourself. I offered myself as opnameleider, because it could be conducive to my career (First assistant director D). The second way is to be asked by the producer to perform another role. From being an assistant, you have to be given the opportunity to work as an opnameleider or first assistant director (First assistant director E). A given opportunity seems to be mostly based on satisfactory performance of a previous role. Third, the transition could be a coincidence as a result of someone getting ill or fired. I was given the opportunity to jump into a film project, because someone else got ill which gave me the chance to set up for first assistant director (First assistant director A).

4.1.3 Tasks and responsibilities The producer, or one of the producers delegates, is predominantly the one who asks the first assistant to participate in a film project. Sometimes the first assistant director is asked to participate by the director, who was satisfied with the performance of the first assistant director in a previous project. This only happens informally, however, by means of a call. Formally, the first assistant director is always asked by the producer since this is the person in control of the finances and responsible for the composition of the project team. According to some respondents the selection of project team members takes place in consultation, although the producer is the one who takes the final decision. Often the director is asked whom he wants to work with, after which he mentions a few names. Then it is not the director who approaches 24

me, but the line producer who has the overview of the finances and availabilities of people (First assistant director A). To be asked by the director to participate in a project can be of influence to the direction of the loyalty of the first assistant director. This is explained in more detail in paragraph 4.3.2. It can be concluded from the interviews with directors that the selection of a first assistant director indeed mostly results from mutual consultation, although it is a subject of controversy in the relationship between producers and directors. Producers like to think of the first assistant director as someone who guards their interests on set, while directors are anxious that their creative interests are not promoted. There are opnameleiders who are on the side of production and there are opnameleiders who are on the side of the director. The best ones are the ones that perform autonomously (Director N). Since producers are said to be ones taking the final decision, they may push for a certain first assistant director in order to exert control, like a spy on set (Director G). It could happen that a producer says that a certain opnameleider is not available when you prefer someone that they do not like (Director H). Nevertheless, most producers indicate that they allow the director to put their stamp on the selection of project participants, because the collaboration would be forced if producer and director do not agree. If a director does not want someone, it inevitably comes back to you during production. It really is a concertation (Producer X). During pre-production the main task of the first assistant director is to make a planning that includes the logistics surrounding the script. The gathering of information from all heads of departments is found to be very important in the preproduction phase. There is a daily torrent of information that you need to incorporate in the planning (First assistant director J). Usually the first assistant director is also involved in location visits, rehearsals, the casting, discussions about special effects and stunts, and meetings between the producer and director. The first assistant director is responsible for signalling and tackling problems in advance. When you signal any problems in the planning, you immediately discuss them with the director, the executive producer and the cameraman and try to come up with a solution (First assistant director M). At the end of pre-production there is a breakdown meeting, during which the details of every scene are discussed. This meeting is held with the aim of getting everyone on the same page. In the production phase the first assistant director executes the planning. He or she is the coordinator that is in charge of the daily supervision on set. The first 25

assistant director circulates the relevant information among the departments, and makes sure that every department knows what needs to be done. He or she is always busy preparing for the next take. You are the spider in the web, controlling all the departments. You are responsible for the succeeding and running in time of a production day. You must ensure that people do their work, and do it well and on time. Communication is very important. Every department has to know what needs to happen, so that no department is waiting while it can already make preparations for the next take (First assistant director B). Moreover, the first assistant director carries responsibility for the crew, as regards their working hours and safety.

4.2 Relationship director and producer First of all, it is important to mention that it is often not the producer him or herself who is present on set during the production. He or she delegates tasks and responsibilities to an executive producer or line producer. The majority of the respondents mention that contact with the producer takes places only a few times during production, and that most of the communication on set is handled by the producers delegates. You do not have much to do with the producer on set; you occasionally wave to him when he passes the set (First assistant director K). Nevertheless, both the executive producer and line producer act on behalf of the producer, so in the remainder of this thesis the term producer is used.

4.2.1 Dual authority According to seven respondents the overall responsibility of the success of a film can be attributed to the producer. According to them the producer is the one who makes the film possible. He or she chooses the director, and has to make sure that the director is comfortable. In addition, the producer has the means available to him to correct and control the shooting. The producer, at all times, whatever we do on set. He has so much means of control () he has the opportunity to unravel everything that goes wrong and happens on set (First assistant director F). One respondent states that the producer is the manager and the director is the employee (First assistant director I). In contrast, according to one respondent, the director carries overall responsibility. This is supported with the argument that the director is responsible for the creative content. The producer is merely the one who creates the right circumstances for the director to do his work. As a third notion on the issue of overall 26

responsibility, six respondents indicate both producer and director as overall responsible for a films success. The producer is financially responsible, while the director is creatively responsible. It is not a one-sided answer. That is the nature of film production; it is actually the producer and director. Without the producer; no director and without the director; no film (First assistant director A). Authority is thus probably dual and by all means ambiguous. This may have something to do with the fact that is hard to decide whether a film is successful. That depends on how you define the success of a project. An artistic successful film may flop because of bad publicity or wrong programming. Conversely, a lousy movie can still become a blockbuster (First assistant director D). Moreover, it could be that a film was not supposed to be commercially successful in the first place. Overall, the interviewed directors indicate that producers are more responsible for the commercial success of the film, while they attribute final responsibility for the artistic success mostly to themselves. One director mentions that producers are responsible for attracting the first 300.000 visitors through casting and promotion, yet it depends on the work of the director whether the film attracts many more visitors. Two directors mention not to see themselves as just executors or employers. I want to have the feeling that I am equal to the producer () I am not an employer (Director C). The interviewed producers, on the other hand, also name the director as being the one mostly artistically responsible. When the director is not found to be artistically responsible by a producer, this is supported with the argument that they are the ones responsible for hiring the director. When a director does not perform well, it was my mistake to hire him (Producer C). With respect to the commercial success, producers hold themselves responsible as often as they mention the director to be responsible as directors are indirectly responsible for the financing, since their names and reputations are associated with film. This could attract or discourage investors. Also, directors are often involved in the promotion of the film. On the subject of accountability, answers of the first assistant directors also differ. Six first assistant directors think they are accountable to the producer only. That is my boss; he is the one who pays me, not the director (First assistant director I). None of the respondent mention the director as the only person who they are accountable to. A majority of seven respondents think they are accountable to both the producer and director. Technically to the producer () but I am the assistant of the director, his most important assistant. In that sense I am accountable to him as well 27

(First assistant director A). One director provides an explanation for these different answers, by stating that it is not certain whether the first assistant director belongs to the production or directing department. That [first assistant director] is the only one who falls directly under me, but is selected by the producer (Director B).

4.2.2 Multiple objectives and functional interdependence The main bottleneck in the relationship between producer and director is that the director always needs more time and money, than the producer allows. One respondent puts forward that obviously it is a tense relationship (First assistant director C). For the producer financial interests dominate, yet creative interests dominate for the director. The director will always fight for more money and the producer will always say: there is no money. So on a production day they are making compromises all the time (First assistant director M). A respondent describes this as the same problem as the one the first assistant director is dealing with, only at a higher level. The interviewed directors and producers acknowledge that conflicts indeed occur between them, although most of them do not perceive it as a conflict. It is said to be more like an on-going discussion about choices that have to be made. It is looking for a combination that works, just like in a marriage. Either you have your own way, or you agree to the other, or else you make a compromise (Director A). One producer points out that it is healthy to have some tension. It is normal for a director to ask for 24 production days, while there is only room for 22 production days in the budget. That is fine, as long as you come to an agreement (Producer X). One possible cause of the tensed relationship lies with the emotional attachment one has to the film project. In general, directors feel more emotionally involved with the project; the film even feels like a child to him or her. The script has been circulating in the hands of people for one or two years, so the script has become like a bible, every scene has its function (First assistant director C). The producer, on the other hand, is concerned with the budget and is less likely to feel emotionally attached to the project. This seems to transform the balance of power in favour of the producer. For the producer knows that he or she is in the position to make the dreams of the director come true, by producing his or her film. They just feel that you are hooked (Director J). Sometimes it is the other way around, that the

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producer is the one who has been working on a film project for a long time, while the director is not involved until the start of production. Another possible cause of the tensed relationship is that directors feel that they do not have a permanent stake in shaping financial matters. I deliver something which brings in money for them, so they cannot say that I am not allowed to look into the budget (Director C). When the budget would be more transparent for directors, they could anticipate on potential financial bottlenecks and make an estimation of the financial consequences of their decisions. Furthermore, the directors vision could be more integrated in the budget. Although the objectives of producer and director are conflicting, they are interdependent. One requires the input of the other in order to complete the film. Therefore, like one respondent notices, it is important for a director and producer to work closely and frequently discuss the film that they are producing together. I feel that these two people should make a beautiful film together. The producer brings in the money and the good people, and the director has the creative ideas (First assistant director I). Following from the interviews with directors and producers, it seems that a close collaboration between the two results in more trust and equality, which in turn leads to less conflicts or conflicts being solved more easily. When working in a close collaboration, producers are more involved in the artistic choices of directors and directors are more involved in the financial choices of producers. Eventually, it is the reputation of the director that is at stake as well as the continued existence of the producer.

4.3 Relationship first assistant director and director 4.3.1 Responsibilities and expectations From the interviews can be concluded that there are two main responsibilities that a first assistant director has towards a director. The one most mentioned is that the first assistant director should create the circumstances in which the director is able to focus entirely on his work. My priority is to ensure that a situation is created where he can optimally focus to be creative. I always try to create a warm bed (First assistant director E). This is done by taking care of communication and logistics. The first assistant director makes sure that all means are available to the director and questions from the crew are mainly addressed to the first assistant director instead of the director. I am his logistic conscience, that is the best way to see it (First assistant 29

director I). The director has to feel calm even though the walls are coming down behind him (First assistant director C). The second responsibility is to think along with the director from a creative point of view. It has to be stressed that the first assistant director is not in the position to take creative decisions, but it is up to the first assistant director to put forward possible solutions when a director asks for advice. It is pleasant for a director when you sense his style and know where the films centre of excellence is (First assistant director J). Another respondent says I think the director likes it when you possess some dramatic insight to think along, which means you understand why a director makes certain choices (First assistant director B). In following the responsibilities towards the director, the first assistant director always need to consider the limits of time and money set by the producer. However, he [director] must not have the feeling that someone is breathing down his neck (First assistant director N). Following from the interviews with directors, directors appreciate a first assistant director with organization and management skills. A first assistant director should keep the overview, provide the director with information and deal with time as efficiently as possible. The confidence that the job is done within the time and budget specified () that is something I worry about too (Director D). Like the first assistant directors indicate, thinking along is something that is valued as well. A director mentions that it is nice when a first assistant director knows about the profession of director and knows when to push through. He should think along with respect to content and has to perform a bridging role between production, direction and crew (Director M). Furthermore, a first assistant director should be a nice and fierce person that does not yell too much. He should not be a bully who antagonizes the crew (Director F).

4.3.2 Loyalty towards director Although it is not that black and white, the loyalty of the first assistant directors mainly lies with the director. It is supposed to be fifty-fifty but it varies. It is mostly dependent on the person (First assistant director B). Even though the respondents know that are responsible to the producer as well, loyalty is mainly directed towards the director for two reasons. First, the director is the one who makes the film, he or she guarantees the creative content and is seen as a source of inspiration. If the director is not happy with what he does, it has no function. You may have finished on 30

time and within budget, but that does not mean that a better film is produced (First assistant director C). Second, the director is the one that the first assistant director works with on a daily basis. The producer is hardly ever in the picture, while the director is on set all day long. Still, the planning should always be kept in mind. It is a disaster for production, when a first assistant director only tries to please the director. I often stand behind the director, but I am also responsible for the planning and want to be finished in time (First assistant director K). Two respondents mention that their loyalty towards the director is greater, in case they are approached by the director to participate in the project. Then you are more willing to go through fire and water for a person (First assistant director M). On the contrary, another respondent says loyalty does not depend on the one who approached you, rather it has to do with being realistic; when you know someone has prepared extremely well and tries his very best then you have to stand up for someone, even when you do not like the person. Also, the phase of the project can influence loyalty. It is mentioned by one respondent that during pre-production loyalty is directed towards the producer, whereas during production my loyalty shifts to the creative side (First assistant director E). That is because the director has a certain vision on the execution of the script that needs to be supported. The way in which loyalty towards the director is expressed usually includes making sure that he or she can make some more takes, although this is likely to result in overtime. When the director is stressed for time and I know that he is doing very well, I will try to convince the producer to agree on that (First assistant director B). For this to happen, the crew has to be asked for permission. I would rather ask the crew to stay a bit longer, than to have to inform the director that he cannot get what he wants because the crew is going home (First assistant director G). It has to be pointed out that the director is not always given the opportunity to shoot another take. This is only done when the first assistant director or producer thinks it is beneficial to the film. Some scenes are very important, while others are less relevant and can be removed. The respondents indicate four reasons for wanting to work with a certain director again. First of all, the capability of the director is found to be very important. A director needs to be well-prepared, know what he is doing and have vision. In addition, clear communication is appreciated. He does not have to listen, of course that would be nice, but a good instruction is much more important (First assistant 31

director I). Furthermore, it is nice to work with a director who thinks along. Some respondents indicate that the job becomes a lot easier when the director respects their decisions, thinks about solutions and keeps budget and time in mind. Lastly, a personal click with the director is seen as important. Whether there is a click with the director can make or break a relationship on set (First assistant director K). Therefore, this could influence the number of conflicts a first assistant director has with a director and the way in which these conflicts are solved.

4.3.3 Conflicts with director Three types of conflict between first assistant directors and directors can be distinguished. The first type of conflict is about time. It is basically the same problem that producers and directors are struggling with: the director always wishes for more time than he or she is allowed. It is always a time conflict; that the director wants more time than that you have. That is the standard, it happens at every shoot (First assistant director N). Time conflicts can be caused by bad communication, like expectations that are not pronounced or things that are not well-tuned. Also, the dcoupage (the shredding of scenes into small takes) is made without noting the planning made by the first assistant director. The dcoupage does not determine the planning and that is the problem (First assistant director K). This, for example, results in production days with 17 takes while during other days 32 takes have to be shot. Although first assistant directors know that directors do not like to be pushed, they have to set limits. We are supposed to shoot an entire film, not just five beautiful scenes (First assistant director M). Directors, on the other hand, want to be completely satisfied with the takes that are shot, since it is their name that is associated with the film. One respondent explains that directors are learned, during their education, to push for more takes to the best of their ability. As a director you must never surrender immediately because then you are fooled. Therefore they strongly maintain as long as possible (First assistant director H). It depends on the attitude of the director, whether the first assistant director is able to meet the planning. In the end, it is the director who is creatively responsible. The second type of conflict concerns the communication of the director. The respondents report that directors often alter their wishes without communicating this to the first assistant director. Sometimes the director thinks of something and forgets to pass it on (First assistant director J). A possible cause of this is mentioned by one 32

of the respondents, who states that most directors are working on a film 24 hours a day and are constantly thinking of improvements. In his creative process, he thought of new ideas and changed things on his own, but I was not given the time to prepare those things (First assistant director H). The first assistant director is thus often accused by the director when things are not in place or when the directors wishes are not complied with, while the first assistant director was not at all posted on those wishes. One respondent indicates that it is important to always check the planning and correspondence in order to verify whether the director did or did not communicate something. The third type of conflict has to do with inexperienced directors. This is an irritation addressed by three respondents. According to these respondents, an inexperienced director is not able to handle the pressure associated with filmmaking. Inexperience may also manifests itself in inadequate preparation, which influences the way in which work can be done efficiently. Often the first assistant director is left to face the music and forced to take action more strongly. The incapacity of the director was ventilated to me () he needed someone to give vent to and I was the one most close to him (First assistant director C). Another respondent even reported to be fired as a result of a director that could not handle the situation on set. The director in question could not deal with the first assistant director pushing her, therefore she got the respondent fired. She knew she needed nine more days and she knew that I was not prepared to give her those (First assistant director E). Conflicts with the director are mainly solved by discussion and negotiation. Together, the first assistant director and director decide whether to delete a scene, shorten a scene or keep the scene at the expense of another scene. In solving conflicts with the director, the role of the first assistant director is an advising and supporting one; he or she rarely has the right to make the final decision. I communicate consequences: when you take more time for this scene, there is only half an hour left for that scene. It is up to me to inform him when a day is not running smoothly and I should not give him the idea that we have all the time in the world (First assistant director M). In case the conflict cannot be solved by discussing and negotiating with the director, two other options are mentioned by the respondent. The first is asking the crew to work overtime. The second is to call in the producer. When the director says I will not negotiate anymore, I must have this scene, that is when I bring in the 33

producer (First assistant director B). In this case, it is up to the first assistant director again to explain the problem and point out to the producer where the director could accelerate or simplify. Usually this result in a discussion between producer and director and subsequently the producer makes the final decision. He or she decides whether a scene is deleted based on its added value to the film. It is important to most respondents that producers act decisively. I can bang the table and shout that we have to be finished at six oclock but if the producer does not do the same; the director will think that he is able to continue the shooting anyway, so then you are in a very weak position (First assistant director M).

4.4 Relationship first assistant director and producer 4.4.1 Responsibilities and expectations Following from the interviews, there are four responsibilities that a first assistant director has towards a producer. To finish on time and stick to the budget is the most important one. A planning is made and the producer wants the first assistant director to meet this planning and deal with time as efficiently as possible. I have to make sure that we uphold the limits of time and budget and create as much as production value as possible () if we have fifty extras, then he [the producer] wants to see those fifty extras in the shot (First assistant director G). Furthermore, the producer needs to be warned when certain aspects of production become too expensive. You are supposed to keep an eye on his wallet, you are not allowed to waste any money on set (First assistant director N). A second responsibility is communicating to all departments and actors. Everyone needs to be informed what has to be done. This also includes keeping the producer posted on the progression made. In the third place, the first assistant director is responsible for creating a pleasant atmosphere on set. Humour, keeping the director happy and making people feel appreciated are important aspects of this responsibility. It is a business where people perform better when they feel good. So I think that is a responsibility of the first assistant director as well: create the circumstances for people to feel good (First assistant director C). To make sure that the crew behaves itself when outdoor shootings take place, is a fourth responsibility mentioned by only one respondent. I think you have to maintain a certain reputation on the street. We have to behave ourselves instead of acting like a bunch of rascals (First assistant director N).

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Producers themselves indicate that staying within the budget, meeting the planning and communication indeed are very important. those [first assistant directors] are key individuals to me. They exert all control during production (Producer S). One producer however finds the completion of a production day in time not that important. Another one mentions that when someone exceeds the budget and ignores everything, that does not mean that I will never work with him again (Producer X). Furthermore, some producers appreciate it when people perform their function without bothering him or her too much. They state that filmmaking is complicated enough even without all the conflicts and troubles. When people keep on bothering me with their problems, that is an important reason to never call these people in the future again (Producer C). Lastly, producers mention that they like it when people behave themselves and think on behalf of the company.

4.4.2 Loyalty towards producer As mentioned in paragraph 4.3.2, loyalty is generally not fixed. It mostly depends on the project and the person. According to the respondents, their professional loyalty should be fifty-fifty. In practice loyalty appears to be directed somewhat more towards the director, however first assistant directors always reserve some loyalty for the producer since limits of time and money are bared in mind. In some cases the loyalty of the first assistant director mainly lies with the producer. This, for example, occurs when the director is not a pleasant person. If I work with a director whom I do not like, of course I will not hinder him, but I will not help him either () then I am on the side of production (First assistant director E). In addition, loyalty may lie with the producer when the producer is more inexperienced than the director. In that case my loyalty will be somewhat more directed to the producer because the director already knows what to do (First assistant director F). Furthermore, the producer can count on more loyalty when the first assistant director thinks he or she is right. This may happen in case the director is only focused on the creative side and does not take the number of working hours into account. It sometimes occurs that I support the producer, for example when we are working overtime a few days in a row already () so it depends on my personal opinion; whether I agree with the producer or not (First assistant director G). A few respondents mention that their loyalty is always directed towards the producer, since he or she is the one that pays their salaries and provides them with work. 35

The importance of a crews loyalty is addressed in the interviews with producers. A number of producers indicate that they strongly need the loyalty of the crew in case he or she needs them to put in extra effort. It often happens that projects are stalled because of rain and other climatic conditions, yet it is necessary to continue the shooting. This can only be done when your crew is loyal (Producer P). According to the respondents, a producer is nice to work with when he or she understands their situation and thinks along. It is appreciated when he or she does not blame the first assistant director when a shooting is hindered because of bad weather. A pleasant producer is also someone who understand my function. It is enjoyable when I can discuss about solutions with him (First assistant director K). It is also found to be important that the producer supports the decisions that are taken by the first assistant director. A clever producer is someone who knows how to delegate. He pays me to do my job, so he should let me perform my job (First assistant director H). Again, the chemistry or a personal click is of importance as well. It makes it much more easy to work with someone when there is a good connection.

4.4.3 Conflicts with producer Three types of conflict between first assistant directors and producers can be distinguished. A conflict addressed by all respondents is about the involvement in the pre-production process. The essence of this problem is that first assistant directors are not involved in the pre-production at all (that is when they are called opnameleiders) or involved in the pre-production too late. It is mainly a question of money. The planning is often made by someone from the production team who is on the payroll anyway. However, by one respondent this is called Penny-wise Pound foolish thinking (First assistant director H). The argument is that people from production do not have the same expertise as the first assistant director. This results in an inefficient planning, which could put the producer to expenses in the end. It could even cost him or her more money, than the involvement of the first assistant director would have cost. Producers need to realize that we could actually bring in money by the expertise we contribute (First assistant director A). Furthermore, during pre-production there are ten people working, however, when things go wrong during production there are forty people working and you [the producer] will lose in one day the amount equivalent to what people in pre-production cost in a week (First assistant director I). Thus, eventually a bad bargain is dear at a farthing. One respondent explains that this 36

could be due to the fact that it is hard for producers to estimate what it brings them when they provide the first assistant director with extra preparation time. The respondents point out many advantages that are associated with their involvement in the pre-production. The pre-production is the time to make a planning that is as efficient as possible with regards to time and costs and discuss it with producer and director. Subsequently, first assistant directors are more able to work efficiently during production, distinguish what is and is not important, make decisions more quickly, anticipate and answer questions of the crew. Especially the first assistant director should be aware of everything, since he or she is the contact point on set. A film is made in the pre-production, during production it is only recorded (First assistant director M). It is indicated that the needed preparation time equals half of the production time. When the first assistant has not had enough time to prepare the film, too much time is spend on solving problems and handling unexpected situations on set. This keeps you from doing the things that you are actually supposed to do (First assistant director L). In addition, they do not know why things are planned the way they are and constantly have to keep up with the facts. Only one advantage is mentioned as a result of not being involved in the pre-production: responsibility can be pushed off to someone else. The second conflict is about assistants. First assistant directors want to be able to choose their own assistant(s), while producers often do not allow them so. Producers want to save money on assistants, therefore they usually pick those assistants who are inexperienced and therefore cheap. However, the second and third assistant are said to be very important to most respondents. A good assistant is said to be complementary because he or she is needed to win time, helps to anticipate and prepare and is able to think along. I think that a good assistant is the oil of the set (First assistant director C). The third conflict is related to the in time completion of a production day, for it frequently occurs that a days planning is not met. Normally a production day consists of ten working hours, however working overtime is not unusual. You rather finish ten minutes too late than ten minutes too early. If you finish ten minutes too early, the director will tell you to shoot another take (First assistant director M). The problem is that the first assistant director often gets blamed by the producer for the overtime, while he or she is not able to control everything on set. As an opnameleider you would like to say to everything is under control, but you know that 37

is not true. For you are dependent on the director, the circumstances and the facilities that are provided to you by the producer (First assistant director N). Little causes, like a broken camera, a tensed actor or two extras who are a few minutes late, could easily result in an hour delay. You are as strong as you weakest link (First assistant director I). The respondents indicate that producers tell them to move faster all the time, but they do not advise them how. Most respondents declare to look at home when they made a mistake themselves, but they also feel that producers need to realize that not everything is the fault of the first assistant director. Sometimes overtime is owing to departments that only try to save their ones skin and sometimes it is owing to producers themselves, who have not provide the first assistant director with the right means needed to meet the planning or have not given them the opportunity to elaborate on the functioning of the crew. Like conflicts with the director, conflicts with the producers are mainly solved by negotiation. When a problem presents itself, respondents report this to the producer. It is important to communicate what causes the overtime and at what point this can be corrected. Then possible solution are discussed. The first assistant director usually proposes ways in which things can be made more simple or more cheap. This often includes changing the script, skipping locations and/or using less means. You describe some scenarios to him and you put him to the choice. An adequate reaction to this is very important (First assistant director J). The duration of the discussion is dependent on the producer. Some will immediately follow the judgement of the first assistant director, while some will push their own opinion. Anyhow, the final decision is made by the producer. Sometimes, a conflict is solved by asking the crew to work overtime, which is mostly done by the first assistant director. When a first assistant director is loyal towards the producer, he or she is more willing to do this, unless it is unreasonable to ask the crew to work overtime again. In that case they tell producers to approach the crew themselves. One respondent mentions that it is important to request the crew to work overtime as soon as possible, preferably a few days before. If working overtime is necessary I will ask the crew if they want to do it. I will not suddenly shout that the crew must continue to work until midnight. That is something I do not support. In case they do not want to, it is the producers problem () it is better to have people complaining two days before than standing on set without any crewmembers (First assistant director H). Respondents mention that directors generally do not interfere in conflicts between the producer and first assistant director. 38

In rare cases the director protects the first assistant director by telling the producer that something is not his or her fault. The lack of involvement of the director in conflicts between producer and first assistant director can possibly be explained by the ultimate responsibility of the producer; given that the producer is the one who makes the final decision there is no need for the director to intervene, yet when the director and first assistant director clash it may be necessary for the producer to cut the knot.

4.5 Performing the middle role 4.5.1 Successful performance of role From the interviews can be derived that the respondents feel to have successfully performed their role when they were able to keep the producer happy, the director happy and the crew happy. This is done by fulfilling all their responsibilities as good as possible. My job is to let people function in such a way that they rise above themselves () you want everyone to feel happy, to do their work with pleasure and with the higher purpose in mind: making a beautiful film (First assistant director D). Respondents indicate that it takes time to perform their role successfully. When you are young and still have so much to learn, you are more insecure(First assistant director B). By one respondent, the first time on set is described as overwhelming because so much departments are involved that all have their own wishes. My first job was a big one, a series of 150 days. This did not go well at once, because you do not know what you are doing, why you are doing it and how you are doing it. You have no clue where you are and what is expected from you (First assistant director F). Over time, respondents mention to understand the process of film making much better. For them this has resulted in being able to make better judgements, communicate better and motivate people better. Also, they have learned to demand for more preparation time. Moreover, some respondents mention to have become better in dealing with conflicts and stress. Nowadays they are able to stay more relaxed, relativize more and be more flexible. In addition, they learned not to let someone run them over. You develop a thicker skin and learn how to balance things better. You grow in your position (First assistant director M).

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4.5.2 Role ambiguity To the question to what extent the respondents know what is expected from them before the beginning of the project, most respondents answer that they do know what is expected from them. It is not like expectations are documented or explicitly mentioned, rather each first assistant director performs his or her role in a certain way and when they are approached, they know that producers or directors want them to perform their role in that particular way. I know what is expected of me very well. That is why they call me (First assistant director I). For example, a producer may either look for a squaller or for a more modest first assistant director. Respondents that indicate not to know what is expected from them in advance, do state that this becomes clear within one or two days. For one thing, because of conversations with the producer and/or director. The conversations show what it is that he wants from you exactly () from such a conversation, you have to find out which position you hold (First assistant director N). On the other hand, because of the corrections made by colleagues. In course of time everyone knows what to do and what not to do. I do not know how this works exactly, but I do know that an opnameleider plays a part in this too. I tell people what I expect from them as a result of which they probably will change their behaviour, and other people do the same (First assistant director N). As a second aspect of role ambiguity, several respondents indicate to be uncertain about the authority they possess. This is expressed in three ways. First, the first assistant director is said to be the manager on set, although they neither have the authority to make financial decisions nor the authority to make creative decisions. It is expected from them to think along and advice the producer or director, but it is not appreciated when they express their opinion whole day long. Producers and director often say: during production he is the boss. This does not mean that I am in charge of the cash, nor does it mean that I am in charge of the content () nonetheless, I still intervene because I have to (First assistant director H). In addition, the first assistant director is said to carry overall responsibility for the planning, but they are often not given the opportunity to be involved in the pre-production. That is a strange thing about our profession; you are the boss of the script, you must take care of everything, but you are not given the time to witness the whole process (First assistant director M). Thirdly, the first assistant director is the central figure on set and is supposed to manage the staff, but he or she is not given the opportunity to hire, evaluate or fire the

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crewmembers. As a first assistant director you are the store manager, but you did not hire the personnel (First assistant director M). The third aspect of role ambiguity includes the lack of evaluation and assessment. According to the respondents, they almost never receive an assessment of their functioning. This affects role ambiguity since the first assistant director is not given the information that would be useful in order for him or her to adjust performance to the wishes of the supervisor: the producer and/or director. Two respondents argue that the lack of evaluation and assessment stems from the projectbased character of the industry. It has to do with the project-based character of the work, the high amount of time-pressure and the fact that everybody is gone after the last day of shooting. After all, it is a temporary organisation (First assistant director A). Respondents do indicate that some form of assessment can be derived from being asked to participate in another project. On the basis of the first assistant directors personal and professional qualities, producer and director decide whether they want to work with him or her again. I am said to be good or not good, that is why they will call me again or will not call me again (First assistant director E). Another respondents remarks: you are as good as your last job (First assistant director F). It also occurs, however, that a first assistant director is never approached by a certain producer again, without them knowing why. In addition, most respondents say to be evaluated during a project, by the producer, director or crew. You will notice whether something is going well. That becomes clear very rapidly. If you are shooting and things are not going well, then immediately a producer will come to you saying that you are too slow (First assistant director B). Also, respondents indicate to be evaluated by the crew when they are not leading by example or do not provide crewmembers with the right information. Plus, when too many mistakes are made the first assistant director gets fired. In contrast, when a film gets awarded you will hear nothing from no one (First assistant director C) however bad production may have been. The lack of evaluation and assessment is said to be regretted since this could decrease role ambiguity and increase team performance and even the performance of the whole film industry. A negative effect of role ambiguity, mentioned by some respondents, is that they miss the opportunity to grow. Sometimes it is good to hear what went wrong and what went well in order to be able to correct yourself. I definitely feel like I am not developing (First assistant director M). Another respondent was starting to doubt 41

himself, as a result of not knowing why he got fired. At that time we did not even discussed that things were not going well. If he [director] had told me that things were not going too well, I could have done something about it (First assistant director K). A second negative effect is that it takes time to clear up the ambiguity. You must chat a lot, talk a lot and write emails a lot in order to get things clear and tell people what you are doing and which consequences are linked to certain decisions (First assistant director J). A third negative effects is that, without assessment, you overlook the opportunity to motivate each other. A positive assessment during production, like giving someone a pat on the back, could motivate him or her to keep up the good work. However, also one positive effects of role ambiguity is mentioned, which includes that there are no rules or agreements to comply with. This increases the freedom of the first assistant director to act, meaning that the first assistant director is able to decide how to fulfil his or her own role to a large extent. It might also occur that mistakes are not noticed because of the lack of rules, which could be beneficial to the first assistant director. One respondent denies the need for an evaluation. The respondent says that an evaluation is unnecessary, because you do not even have the time to change your behaviour because the team is together for only a short period of time (First assistant director I).

4.5.3 Role conflict Every respondents points out to be confronted with conflicting expectations. On the one hand, the first assistant directors has to make sure that the shooting is completed within the time and budget specified. On the other hand, the first assistant director has to provide the director with the material that he or she needs in order to make the desired film. It is a role that is said not to be easy. You always have two faces. You are constantly compromising. You are never able to fully support your director because you know you are there to represent the interest of the producer too (First assistant director A). As a first assistant director, you must meet your responsibilities towards the producer and meet your responsibility towards the director, which are by definition incompatible with each other (First assistant director D). The same respondent remarks: It is a political game, during which you must navigate between the wishes of the director and the opportunities that are provided to you by the 42

producer. You are the glue and the bumper between two superpowers (First assistant director D). It also happens that the producer or director requests for something that the first assistant director does not agree or has difficulty with. According to one respondent, it will cost you work when you are not able to find the right balance between time and creativity. An executive producer would like it when I pay attention to time but the moment he discusses with the director which first assistant director to select for the next project, the director is likely to say that he prefers someone else because he thinks I am too strict (First assistant director M). Some respondents note that the experienced role conflict negatively influences their performance, physically as well as mentally. If I have to work under huge amounts of pressure qua time and the amount of work, this could injure my performance because I get more and more tired (First assistant director E). One concrete negative effect of role conflict is that it is said to resolve ones focus. It may happen that a discussion takes places at which someone blames you for something or heaps abuse on you, as a result of which you are dreadfully cut up by it and focused on yourself instead of on the things you are supposed to do as a professional (First assistant director J). Another negative effect is that it may demotivate someone if he or she is hardly ever able to meet the expectations of someone, without falling short in meeting the expectations of the other. On the contrary, other respondents emphasize a positive effect of role conflict: it keeps you alert and stimulates the team to constantly perform at the top of its ability. It ensures you to keep sharp, to constantly deal with new challenges, and constantly consider creative solutions which eventually benefit the quality of the project (First assistant director A). In spite of negative and positive effects of role conflict, rather many respondents indicate that the role conflict does not affect them much. Four arguments for this can be deducted from the interviews. For one the thing, conflict does not bother them much since a job never lasts longer than a few weeks (First assistant director D). Second of all, conflict is seen as a part of the game. It is part of the job, as an opnameleider you are aware of this and you learn to deal with it (First assistant director K). Another respondent mentions that you are able to choose whether to participate. It is also possible to choose not to participate and find another job (First assistant director I). Thirdly, two respondents indicate that conflict does not bother them much because they are able to separate their work life from their private life. 43

One of these respondents remarks that you should never perceive it to be a personal struggle, but think of it like a carpenter who builds a wooden case. It is a thing that must be completed in a set amount of days and then you deliver it and you are done. It is just a job, nothing less (First assistant director I). The fourth arguments includes that some respondents deliberately choose to perform a role that is associated with conflict. On the one hand, since it is a role that suites them. Somehow it is in your character to look for such a position (First assistant director N). On the other hand, since they enjoy the rush that is associated with the conflict. When they get something done, it provides them with a lot of satisfaction. You only have the opportunity to enjoy the most appealing aspect of the function, the rush, in case there are conflicts () it is fantastic when you manage to tackle the conflict (First assistant director F).

4.5.4 Mediating role A majority of the respondents indicates to perform a bridging role between the interests of the producer on the one hand and the creative interests of the director on the other hand. I am a mediator, definitely (First assistant director L). Most first assistant directors perceived it to be their responsibility to intercede between director and producer and to control the conflicts that take place between them. They are able to perform this role precisely because they neither belong to the production department, nor to the directing department. I am like an isolated island, that is obliged to hold everyone together and have everyone make compromises, in order to ultimately obtain the best possible result (First assistant director M). The respondents explain to perform their mediating role mostly by discussing with the producer on the one hand and the director on the other hand. The first assistant director tries to think of creative solutions in order to bring together the opposing tendencies. From the interviews can be concluded that is very important for a first assistant director to anticipate and communicate. First, he or she clearly explains the problem(s) to both the director and producer and describes the consequences that are linked to certain decisions. My role is a mediating and communicating one, I have to impress a mirror upon them by, for example, telling them that certain things will not work or are impossible (First assistant director M). Then, choices have to be made in order to continue the shooting in such a way that it will be finished on time. This usually entails the deleting of scenes, the shortening of scenes or the shooting of scenes in a different way. Of course, the accuracy of the 44

films story has to be kept in mind. It is weighing up all the time () you are constantly thinking creatively and practically in order to save money on the one hand and to solve things creatively on the other hand. Mainly it is about thinking logically yourself and solving practically (First assistant director A). The first assistant director tries to propose solutions that work for both the producer and director. Then you have to be able to bring forward solutions of how the same story can be told in less time (First assistant director J). In each discussion either the producer or the director has to make a concession. One time the director is said to listen to the producer, the other time the producer is said to listen to the director. This it said to depend on the person, the direction of the loyalty of the first assistant director, and the situation. It is up to the first assistant director to decide whether the producer or director is right in the particular circumstances. In case a first assistant director is more loyal to the director, he or she is most likely to give the director the benefit of the doubt and the same applies to a first assistant director who is more loyal to the producer. However, it is remarked to be important for a first assistant director to never pick a side for the duration of the whole production. You have to make sure that you warrant your middle position, so that you are able to bow to the director one time and bow to the producer the other time (First assistant director F). In case major problems arise, it may be necessary to have everyone gathered around the table to brainstorm together about possible solutions and to get everyone on the same page. Eventually, it is the producer who makes the final decision. In addition, it is part of the middle for the first assistant director to be the station of support where people can relieve their feelings. For a director to say to you: I hate it when the producer acts like that. Or the other way around, that the producer tells you: listen, we have to figure out how to navigate the director in another direction, because he has an enormous platform of demands to which we are not able to obey to (First assistant director B). One respondent notices that a big advantage of the bridging role of the first assistant director is that producer and director are able to proceed on equal terms. As the first assistant director yet is the messenger of the bad news, they cannot accuse one another for this. Therefore producer and director are able to talk to each other in a normal, not argumentative, way. That is important since they are the ones that eventually have to come to an agreement (First assistant director D).

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5. Discussion and conclusion

In this final chapter, a summary of the research and results is provided as well as a discussion and implications of the results. In addition, the limitations of this research are described and recommendations are made for further research.

5.1 Summary of findings In this qualitative study the role of the first assistant director is examined in managing the relationship, and tension within that relationship, between the commercial objectives of producers and the artistic objectives of directors in film production. Empirical data is obtained by means of interviews. The main task of the first assistant director is to execute and control the planning during the production of a film. On set the first assistant director can be seen as a manager or coordinator who leads up to all departments and handles the communication. As the name suggests, the first assistant director is the directors assistant, although he or she is accountable to the producer as well. The producer and director both carry responsibility for the commercial and artistic success of the film. By the respondents their relationship is described as tensed, for the producer is mostly responsible for the commercial side and the director is mostly responsible for the artistic side. Both parties want to protect and pursue their own interests. Although the objectives of producer and director differ, one requires the input of the other in order to complete the film. During production the opposing interests often result in conflicts between producer and director, and in conflicts between first assistant director and director or producer. The first assistant director and director are in a close collaboration during the production of the film. The first assistant director is responsible for keeping the director focused and giving creative advise when necessary. Overall, the first assistant director has to provide the director with the takes needed to tell the films story adequately. Conflicts between director and first assistant director are mostly about time; the director always wishes for more time than the planning allows. The responsibilities of the first assistant director towards the producer include meeting the planning in terms of time and budget, keeping all departments informed, creating a pleasant atmosphere on set and controlling the behaviour of the crew when

46

shooting outside. Conflicts with the producer are about the involvement of the first assistant director in the pre-production, the right of the first assistant director to choose his or her own assistant and the causes of overtime during a production day. Equal to conflicts with the director, conflicts with the producer are solved by negotiation or requesting the crew to work overtime. However, while conflicts with the director can be solved by calling in the producer, the director is hardly ever called in to solve the conflict between first assistant director and producer. Precisely because the first assistant director does not belong to either the production or the directing department and is in charge of the daily supervision on set, he or she is able to perform a mediating role between the commercial objectives of producers on the one hand and the artistic objectives of directors on the other hand. The first assistant director is the lever and the bumper between financial and creative interests. He or she constantly tries to bring together the opposing tendencies by discussion, negotiation, clear communication, inventive thinking and the proposition of solutions.

5.2 Discussion of findings For a start, the word conflict is often used in the literature on cultural organizations to describe the art and commerce problem. The word is used in this thesis as well, as it immediately clarifies the mutual relationships. However, following from the interviews with first assistant director as well as producers and directors, it has to be remarked that the word conflict seems excessive. It is more like an on-going discussion about choices that have to be made in order to continue the films shooting. Compromises have to be made on both the artistic and commercial side. Conflicts as described by Cohendet and Simon (2007), DeFillippi et al. (2007), Eikhof and Haunschild (2007) and Glynn (2000), who all describe the art and commerce problem in different cultural industries, are thus not necessarily perceived as conflicts by the members of the cultural organizations. In addition, the term dual leadership, used to describe the leadership arrangement between producer and director as mentioned in paragraph 2.4.2, needs to be revised. Authority indeed is split between the two managers, which indicates a dual authority structure. Nevertheless, the producer and director are not exactly placed on the same horizontal level, since the producer is said to be the one who is ultimately responsible. In case the director or the crew do not perform well, the producers has the 47

means available to him or her to signal this and correct performance where necessary. Thus, although dual authority is present, dual leadership is not according to the definition of De Voogt and Hommes (n.d.), which states that dual leaders have equal rank. Co-leadership, whereby leaders are in a different hierarchical position but share the leadership in practice (De Voogt & Hommes, n.d.), seems to be a better description of the relationship between producer and director. Still, leadership structures in cultural organizations are often described as dual leadership (see De Voogt, 2006 and Reid & Karambayya, 2009). Although this term possibly suits leadership arrangements in other cultural organizations, like theatres or orchestras, the term should not be copied unthinkingly. The support, found in this thesis, for the mediating role of the first assistant director is in accordance with Galbraith (1974) and Reid and Karambayya (2009), who propose that a mediating role could equalize power and increase the joint decision making process. The first assistant director indeed proves to be valuable in upholding the delicate balance between art and commerce in the film industry. Given this finding it is remarkable that theory on mediating roles is limited. More research should be conducted in this field, since mediating roles may prove to be valuable for other organizational structures and shared leadership structures, like dual leadership and co-leadership, as well. As dual authority, multiple objectives and functional interdependence are found to be present in the film industry, conditions are in place for the first assistant director to experience role ambiguity and role conflict. First, since formal role descriptions and formal performance interviews are lacking in the film industry, the first assistant director experiences role ambiguity. In addition, where in traditional organizational structures authority equals responsibility (Sy & DAnnunzio, 2005), this is not applicable to the project-based organizations of the film industry. The first assistant director is responsible for the management on set, but he or she does not possess the authority to make decisions accordingly. Second, role conflict arises, since the expectations projected on the first assistant director by the producer are inconsistent with the expectations projected on the first assistant director by the director. The producer wants the first assistant director to watch over the schedule and budget, while this inevitability means that the first assistant director is not able to comply to the wishes of the director, who wants to shoot as many takes as possible. Role conflict is thus embedded within the role of the first assistant director. 48

Although before mentioned findings on role conflict and ambiguity are in accordance with role theory as mentioned in paragraph 2.2, perceptions of role ambiguity and role conflict are quite different among the respondents. Some respondents indicate to know exactly what performance is expected and do not have a problem with the lack of evaluation and assessment, yet others do not know what performance is expected and feel like the lack of evaluation and assessment slows down their opportunity to grow. In addition, some respondents indicate to experience role conflict as a result of being in the middle, yet others do not. Role theory should therefore consider that role conflict and role ambiguity do not necessarily arise when conditions for role conflict and ambiguity are present. The differences in perception of the respondents can possibly be explained by job tenure (Rizzo et al., 1970); the longer one performs a job, the more information he or she is likely to have obtained and the more time he or she has had to adjust to and deal with the job effectively. This is confirmed by respondents who have remarked that over time they have learned to deal with conflict and stress, and understand the process of film making much better. Like Faulkner (1983) states, people in the film industry learn to survive in an environment full of dual interests. Another explanation is that first assistant directors that were not able to deal with the experienced role conflict and ambiguity, probably went looking for another job. Differences in education may be of influence too, although educational level is only found to be very weakly correlated to role conflict and ambiguity (Dimaggio & Sternberg, 1985; Morris et al., 1979). A useful supplement to this research would be to examine quantitatively whether first assistant directors experience role conflict and role ambiguity. With regard to the negative effects of role conflict and ambiguity proposed by the theory, no support or rejection can be established since this is not a quantitative study. Still some remarks on the subject can be made. Role ambiguity appears to be more important in determining team effectiveness than role conflict, like mentioned by House et al. (1972). According to the respondents team effectiveness and individual performance could be increased when evaluations and assessments would take place. Moreover, the role of the first assistant director appears to be much more effective when he or she would be given more authority. In contrast, a decrease in role conflict does not seems to increase the performance of the team or the first assistant director considerably. Even though role conflict delivers stress to the first assistant 49

director, it is said to produce some positive effects as well. It is said to keep them alert and stimulated to constantly think about creative solutions to the challenges opposed on them. Also, the rush associated with dealing with the conflict is mentioned as a positive effect. While respondents implicitly indicate that they would prefer a decrease in role ambiguity, role conflict thus seems to be more accepted. This may be due to the temporary character of the project-based organization (Lundin & Sderholm, 1995), the fact that some individuals are able to not let work affect them personally (Faulkner, 1983) and the willingness of people working in the cultural industries to take for granted some negative side effects, like lower wages and uncertainty, because of the attractiveness of cultural occupations (Menger, 1999). This thesis thus confirms the findings of Pondy (1976) that conflict is not necessarily a bad thing. Tension in the relationship between producer and director can be healthy since it may bring out the best of both worlds, and for the first assistant director role conflict at some level is required to master and/or extend his or her skills, like stated by Tarrant and Sabo (2010). Therefore, the goal should not be to eliminate (role) conflict all together.

5.3 Implications There are several implications for practice that follow from this study. At first, implications for the film industry are discussed. As other cultural organizations struggle with problems of art and commerce too, and dynamics between artistic directors and business directors are similar to those between producers and directors, some of the following implications may be applicable to the broader cultural industries as well. Subsequently, implications for matrix organizations and shared leadership structured are discussed. First, it seems that the more role ambiguity can be decreased, the better the first assistant director is able to perform his or job and with that, the mediating role. The film industry should thus look for ways to decrease role ambiguity so that project participants are given more opportunity to grow. This could be done by providing the first assistant director with more authority so that he or she is able to make more autonomous decisions. This is in accordance with the vision of Sy and DAnnunzio (2005) who state that authority should be decentralized to those who have the most accurate information, and with Morris et al. (1979) and Schuler (1979) who find that providing individuals with a larger voice in decisions affecting their role is likely to 50

decrease uncertainty about their roles. In addition, role ambiguity could be decreased by incorporating evaluation and assessment in the project-based organizations of the film industry. This will not only benefit team performance, but presumably the whole industry. Second, it turns out to be of great importance for producers to involve the first assistant director in the pre-production process. Preferably, the first assistant director should be given the time to make the planning, that equals half of the production time. Eventually this is in the benefit of the producer too, since less time and money have to be spend on correcting mistakes resulting from an insufficient planning. To prevent even more problems the amount of production days should be adjusted to the planning made by the first assistant director. To discuss about these things and decrease the number of conflicts between first assistant director and producer, it would be useful for the branch organizations of both professional groups to gather in order to make clear agreements and formulate some guidelines. It is also useful to discuss about areas of responsibility, communication processes and overtime. Thirdly, although this is highly unusual in the film industry, it appears that there would be much less conflict on set when the budget would be based on the script and the directors vision of the film. Nowadays it is not assessed whether the script can be produced with the available budget. Producers should take a look at the script first and then assess the amount of money that is needed to make the script. In case there is only a maximum amount of money available, the script should be adjusted to the budget. Fourthly, proper team selection turns out to be very important. Factors such as experience, communication skills and tolerance for ambiguity and conflict seem to be crucial for project participants to possess, especially for the first assistant director. Furthermore, like stated by Jones and Deckro (1993) and Galbraith (1974), for a first assistant director to perform his mediating role, he or she should preferably be able to deal with role stress effectively and be able to exercise power in the form of persuasion and informal influences. Fifthly, the findings of this research provide insights for the management of role stress in matrix organizations and shared leadership structures. This research highlights the importance of decentralization, communication processes, team member selection and reflection on performance. In matrix structures role conflict and role ambiguity is experienced by project members as a result of reporting to both the 51

functional manager and project manager. First of all, as much authority as possible should be given to the project members so that they are able to make the decisions that come with the job and so do not constantly have to ask for permission from the project or functional manager. In addition, project members should receive clear job descriptions and be involved in the project from the beginning, so that they clearly know what is expected from them and are able to witness the whole process. Furthermore, in the film industry people appear to be focused on solving problems through persuasion and negotiation. These skills may be crucial for matrix organizations as well, therefore they should be consider when assembling a project team. At last, project members should be assessed on their performance and have the opportunity to participate in the evaluation of the project. Functional organizational structures and divisional organizational structures are not considered to equally benefit from the findings, since in these structures the principle of unity of command is not violated as a result of which no role conflict or ambiguity is likely to arise.

5.4 Limitations and recommendations for future research This empirical study has a number of limitations. Each limitation comes with one or several recommendation(s) for future research. First, only the Dutch film industry is examined. In other countries the film industry may be organised differently, so caution needs to be exercised when generalizing the findings of this research to international contexts. A few respondents have reported, for example, that in other European countries the first assistant director is always involved in pre-production and departments consist of more people. Besides, roles may be valuated differently in other countries. In the Italian film industry, for example, directors play the key role (Delmestri et al., 2005). It would be interesting to examine the role of the first assistant director in countries where the film industry is organization differently. International structures may even serve as an example for the Dutch film industry. Second, only the roles of the first assistant director, director and producer are examined. Other roles may have an influence on the art and commerce problem too and thereby affect the role of the first assistant director. For example, from the interviews can be concluded that the camera man plays an important role on set since he or she influences the planning, is able to bring forward solutions, and is partly 52

responsible for the look and feel of the film. Future research could examine which roles contribute to the ability of the first assistant director to perform his or her role successfully. In addition, it would be interesting to investigate whether other roles have a mediating role as well and whether other roles experience role conflict and/or role ambiguity as well. Another intriguing subject for future research on this subject would be to study combined roles, like a director and producer in one or a first assistant director and producer in one. Probably a combination of these roles results in decisions being made more easily since less discussions need to take place. Thirdly, no distinction is made between commercial and art house films. In case a film is not meant to be commercially successful, priorities are probably placed differently. This may affect the dynamics and number of conflicts during production and thereby the role of the first assistant director. A field research could be conducted whereby a first assistant director is observed during the production of a commercial film on the one hand and during the production of an art house film on the other hand. However, it should be kept in mind that it is not always clear in advance whether a film belongs to the commercial genre or to the art house genre; an art house film may turn out to be a blockbuster. Fourthly, it is hard to draw general conclusions from this research, since every film project is different as dynamics may change from team to team. Every combination of people results in a unique chemistry, which affects the atmosphere on set. In addition, some individuals are open to new ideas and the creation of balance, while others are not (Delmestri et al., 2005). Also, ways to handle conflict differ from producer to producer and director to director. Some producer, for example, are able to combine business and creative aspects successfully, while others aggravate the conflict (Faulkner, 1983). Lastly, every project comes with its own circumstances. A month of bad weather will not advance the ability of the first assistant director to meet the planning. For future research on this subject, it would be interesting to look into personal characteristics which make it easier for a person to deal with role conflict and role ambiguity, or which are useful in performing a mediating role. An assessment of such characteristics may help individuals to determine whether the role of first assistant director would suit them, and may prove to be useful for producers when selecting the project participants. Moreover, it could be examined whether the first assistant director experiences less role conflict when he or she is working with a director and producer that are in a close relationship. It can namely be concluded from 53

the interviews with directors and producers that a close relationship between them results in less conflicts and discussions. Art and commerce problems are then internally solved, as a result of which less conflicting expectations are projected on the first assistant director.

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Appendix: interview protocol

Dit interview heeft als doel inzicht te krijgen in carrires van opnameleiders in de Nederlandse film- en televisie industrie. Alle antwoorden die u geeft zullen vertrouwelijk worden behandeld. Indien u er bezwaar op heeft dat er geluidopnamen worden gemaakt dan zal ik dat achterwege laten. De opname is echter niet bedoeld voor verspreiding of openbaring maar puur voor het achteraf uitwerken van het interview. Contactgegevens: Naam respondent: Woonplaats: Leeftijd: Geslacht: Datum: Interview locatie:

CARRIEREGEGEVENS 1. Wat is uw professionele status of arbeidspositie? Freelancer / ZZPer (Mede-)oprichter (Mede-)eigenaar Directeur Werknemer Anders, namelijk 2. Welke opleiding en richting heeft u gevolgd? Opleiding Richting 3. (Indien van toepassing) Welk jaar bent u begonnen met deze opleiding en welke jaar bent u afgestudeerd? Begonnen Afgestudeerd

4. In welk jaar bent u professioneel actief geworden in de film- en televisie industrie? Jaar 5. Ziet u uzelf meer als opnameleider of First Assistant Director?

6. Welke betaalde functies heeft u gedurende uw carrire vervuld?

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7. Hoe is de stap van assistent opnameleider (of een van de andere functies) naar opnameleider verlopen?

BELONING 8. Kunt u aangeven welke vorm van financile beloning u doorgaans ontvangt en waarom juist deze vorm?

TOTSTANDKOMING VAN PROJECTEN 9. Kunt u aangeven door wie u doorgaans wordt benaderd om mee te werken aan een project en waarom juist door deze persoon?

PRE-PRODUCTIE 10. Kunt u omschrijven hoe het pre-productie proces verloopt en wie daarbij betrokken zijn?

11. Hoe zou u uw functie en de daarbij horende verantwoordelijkheden tijdens de preproductie omschrijven, indien u hierbij betrokken bent?

12. Wat zijn de gevolgen van de mate van uw betrokkenheid in de pre-productie voor uw positie en uw functioneren op de set?

PRODUCTIE 13. Hoe zou u uw functie en de daarbij horende verantwoordelijkheden tijdens de productie omschrijven?

14. Wanneer heeft u uw functie tijdens de productie volgens uzelf succesvol vervuld?

15. In hoeverre weet u voor aanvang van het project wat er van u verwacht wordt tijdens de productie op de set?

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16. In hoeverre ontvangt u een beoordeling van uw functioneren op de set en welke criteria worden hierbij gehanteerd?

17. Welke voor- en nadelen zijn er aan verbonden als deze criteria vooraf juist wel of juist niet expliciet worden gemaakt?

18. Wie is er in uw ogen de eindverantwoordelijke voor het slagen van het project?

19. Aan wie legt u direct verantwoording af?

SAMENWERKING 20. Kunt u aangeven welke andere functie(s) op de set het meest belangrijk voor u zijn om uw functie succesvol te kunnen vervullen? Waarom?

21. Kunt u aangeven met welke andere functie(s) op de set u, professioneel gezien, het meest botst? Waarom?

VERHOUDING OPNAMELEIDER EN REGISSEUR 22. Welke verantwoordelijkheden heeft u ten opzichte van de regisseur?

23. Kunt u aangeven hoeveel belang u hecht aan een vaste relatie met een regisseur en waarom?

Met een vaste relatie bedoelen we dat u bij voorkeur altijd met dezelfde persoon samenwerkt indien deze u voor een project benaderd. 24. Welke factoren spelen voor u een belangrijke rol in uw beslissing om in de toekomst opnieuw met een bepaalde regisseur samen te werken?

25. Welke van uw (persoonlijke of professionele) eigenschappen spelen volgens u een belangrijke rol voor regisseurs om juist u te willen hebben voor een project?

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26. In hoeverre is er sprake van conflicten op de set tussen opnameleiders en regisseurs? Kunt u hier een voorbeeld van geven?

27. Kunt u aangeven hoe deze conflicten worden opgelost?

28. Kunt u een of meer voorbeelden geven van een situatie waarin de producent heeft moeten bemiddelen tussen u en de regisseur? Hoe vaak komt dit voor?

VERHOUDING OPNAMELEIDER EN PRODUCENT 29. Welke verantwoordelijkheden heeft u ten opzichte van de producent?

30. Kunt u aangeven hoeveel belang u hecht aan een vaste relatie met een producent en waarom?

Met een vaste relatie bedoelen we dat u bij voorkeur altijd met dezelfde persoon samenwerkt indien deze u voor een project benaderd. 31. Welke factoren spelen voor u een belangrijke rol in uw beslissing om in de toekomst opnieuw met een bepaalde producent samen te werken?

32. Welke van uw (persoonlijke of professionele) eigenschappen spelen volgens u een belangrijke rol voor producenten om juist u te willen hebben voor een project?

33. In hoeverre is er sprake van conflicten op de set tussen opnameleiders en producenten? Kunt u hier een voorbeeld van geven?

34. Kunt u aangeven hoe deze conflicten worden opgelost?

35. Kunt u een of meer voorbeelden geven van een situatie waarin de regisseur heeft moeten bemiddelen tussen u en de producent? Hoe vaak komt dit voor?

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VERHOUDING REGISSEUR EN PRODUCENT 36. Hoe zou u de relatie tussen producent en regisseur omschrijven?

37. Welke knelpunten heeft u ervaren tussen de belangen van de regisseur en de belangen van de producent?

38. Kunt u een of meer voorbeelden geven van situaties waarin uw verantwoordelijkheden richting de producent moeilijk verenigbaar waren met uw verantwoordelijkheden richting de regisseur?

39. Kunt u een of meer voorbeelden geven van een situatie waarin u heeft moeten bemiddelen tussen de producent en de regisseur?

LOYALITEIT 40. In hoeverre ligt uw loyaliteit op de set in verhouding bij de producent of bij de regisseur? Regisseur %: Producent %:

41. Hoe uit deze loyaliteit richting producent en/of regisseur zich?

42. In hoeverre is de mate van uw loyaliteit richting ofwel de producent ofwel de regisseur afhankelijk van het specifieke project?

PERSOONLIJKE ERVARING
43. Welke gevolgen hebben conflicten op de set voor het eindproduct volgens u? (positief dan wel negatief)

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44. Welke gevolgen hebben conflicten op de set voor uw prestaties als opnameleider? (positief dan wel negatief)

45. In hoeverre hebben conflicten op de set invloed op u als persoon?

46. Waarom heeft u voor de functie van opnameleider gekozen?

47. Wat is het belangrijkste dat u geleerd heeft in uw loopbaan met betrekking tot het omgaan met conflicten op de filmset?

48. Wat vindt u de leukste aspecten en minst leuke aspecten aan uw functie?

49. Hoe zou u de huidige staat van de Nederlandse filmindustrie beschrijven?

50. Wat kan er volgens u verbeterd worden aan de organisatie van de Nederlandse filmindustrie?

TER AFSLUITING 51. Heeft u het gevoel dat ik vragen heb overgeslagen die u wel relevant acht voor dit onderwerp? Zo ja, welke?

HARTELIJK DANK VOOR UW MEDEWERKING!

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