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[girlinmiumiu]

Girl in Venice: The Creativity of Producing

Giorgio Gorsetti served as moderator today.

Jules Daly, is a film producer who produced of The Door for Miu Miu Women's Tales. She is daughter os producer Jonathan Daly and has her own life's work of producing, specifically small independent films. She produced The A-Team (2010), Fish (2011), The Dude (2011), Daybreak (2012) and others. 

Sue Kroll is President of Worldwide Marketing for Warner Bros. Pictures. She oversees the strategic creation and implementation of marketing campaigns for the Studio’s global releases, directing all aspects of marketing, advertising, media planning, promotion, publicity and research. Among the Studio’s recent releases handled by Kroll and her team are Harry Potter and the Deathly Hallows – Part 2, The Hangover Part II, and Sherlock Holmes: A Game of Shadows. She previously spearheaded campaigns for many other global successes, including the record-breaking 2008 blockbuster The Dark Knight, which amassed more than $1 billion at the worldwide box office, landing as the third-highest-grossing film domestically of all time and the 10th-highest worldwide. For 2013, Kroll is currently overseeing the marketing of a wide range of Warner Bros. Pictures’ releases, including The Great Gatsby, The Hangover Part III, Man of Steel, Pacific Rim, We're the Millers (NLC), Prisoners and The Hobbit: The Desolation of Smaug (NLC).

Here is part of their talk:

In your experience, what is the role in promoting and producing strong films and directors? SUE: Warner Brothers places a very big role, more than most studios, on cultivating talent relationships. Everyone criticizes big films but it is great to work with interesting films in interesting ways. Christopher Nolan was not an obvious choice for Dark Knight which enjoyed critical and popular fame. Ben Affect is now an award winning director, but no one realized how talented he is. There is also Zack Snyder and Man of Steel.  We have big broad films and special films which is why we are here in Venice every year. JULES: Directors are not always the easiest but they are what we have and we also make commercials, music videos, tv and film. My role works for me as I work well with directors and supporting artists. It's good for my personality to support talent. We are attracted to what is challenging and difficult to make happen. When a producer says we are here to support directors I think because the director need support and discussion. Can you afford confrontation? JULES: It's different for very project. Some want you by their side, but everyone is different, which keeps it alive for me. Every time I produce is different but some male directors like to be strong handed, to work under pressure. Sometimes the pressure produces the best project. 

How did you start in film? JULES: My first job was production on Little House on the Prairie. I got Melissa her hot chocolate. I grew up in LA and I got on any set in any way I could. But I started learning from commercials and finding that I love directors and their projects. SUE: It's interesting being in the world. School teaches you how to socialize but everything I learned I learned on the terrestrial. My first job was at Burger King but I was invited to see the launch of the ad campaign, to a convention. At the commercial I remember thinking I want to make those things. I worked throughout high school and college and I started as an assistant and got my start at show time, when no ne really watched cable. Then I went to Turner in Atlanta to market films and I went to LA and thought it was great. But then Turner moved me to London and I started the first film channel in seven languages and Warner Brothers hired me. There was not an international division for marketing and I was the first to do specific campaigns that employed the cultural nuances of the film. Does being a woman add to your job? JULES: The nurturing side of what I do as a producer is true. I have never had a problem in moving up but I do think specifically I am nurturer. I am patient and good at keeping the family in a base together and that probably comes deeply from being a woman. SUE: For Great Gatsby, I think being a woman allowed me develop a different campaign than a man. When I went on set they took me to see the costumes. You had a visual of what it looks and feels like. I don't believe a man could see it that way. Subtleties and being a nurturer works for us.