Producer: worker who covers the whole process of creating a film, right from the start, getting involved in deciding what they want to say, what scripts they want to write and what project they want to set up. From there, the product begins to develop, this phase of work with the director, the scriptwriters, who form the project at the creative level; And if everything goes well and we manage to have a well-crafted and funded project, the pre-production phase begins.
After this stage, the stage of preparation of the technical and logistical shooting, and also artistic by the director. Then comes the shooting, which can take place in a day if it is a short film or months if it is a film, and once everything is shot, the post-production phase production begins. Normally, it is set up in parallel, and once the project is in place, the promotion begins. On the day of its theatrical release, This is the day his life begins, reaching the public and sharing it.
This definition comes from Marie du Puy, a professional in the Spanish film industry active for over 17 years. In 2006, he founded his own production company, Vallandawhich has been the source of successes such as fighters (2009), The madwoman and the feminist (2020) Mother (2017) by Rodrigo Sorogoyanwho won the Goya and was nominated for the Oscars.
There’s no doubt he’s carved out a career full of triumphs – indeed, his production company is also behind Las paredes habla, the latest documentary set to emerge from the late Carlos Saura—, even if the career of women in cinema is still not easy. And it is that, as in so many other sectors, there is a common enemy: the glass ceiling. And this can be combated by positive discrimination.
The reality is that these aids push for an improvement in equality
“It’s true that for some years we have been practicing positive discrimination in aid, as we do throughout Europe and in other countries, such as Canada, which gives an additional mark (when we receive the subsidy) if you are a director, scriptwriter, if there is a producer, if there are female team leaders. It is a question of balancing the scales, and the reality is that these subsidies push for an improvement in equality”, he comments, focus on one of the elements that contributes the most to equal presence in the industry.
However, let us remember that it is a question of equalizing: “There are two categories in which historically there have always been more women, such as costume direction and make-up and hairdressing, where there are more women. In costumes they represent 82% of the total, while in make-up and hairdressing they amount to 66%. In these categories, there is no need to promote equality and there is no need for an extra note, but it is in the categories where there are fewer women. This is a subject that has been applied in many countries and little by little. Little by little, it’s bearing fruit, but it’s slow, things don’t happen overnight. We come from a dictatorship where women had no rights, such as not being able to travel abroad without the permission or vote of her husband. Not so long ago. There is still a long way to go, but the good thing is that we are making progress. But of course there is this gap.”
Inequalities, a matter of numbers
The data doesn’t lie. According to the annual report of the Association of Women Filmmakers (CIMA), with figures for 2021 —the 2022 report is yet to come—, the comparison in most cases leaves women professionals in a very low proportion compared to men. As María tells us, in terms of executive production, 26% are women and 74% men, and in management, 21% women against 79% men.
According to the media, it may seem that women are more present because of the successes of certain female directors, but the numbers are so stark.
He notes on this subject: “We are talking about the year 2021, which was a very good year: it was the year of girls con Pilar Palomero lead, with executive producer; with a brutal presence. According to the media, it may seem that women are more present because of the success of certain female directors, but the numbers are so stark.” In fact, he goes on to point out that in the script, there is a comparative percentage of 31-69 with a female minority; as well as 12% in musical composition.
In such small categories, all that remains is to rejoice in the victory of the women: “Last year, she won the Goya Zeltia Montes For The good patron, and it’s wonderful. Not just because the music is great, but because it serves as a reference for new composers and other professionals may have a precedent”, concludes.