A film project usually begins with the Producer. Whether it is a newspaper article, a book or a script that is already written, it is the Producer who finds the story and options or buys the rights to make the film. This person will hire a Writer or work with the Writer to develop the script and get it polished and ready for production.

The Producer will also secure funding. This is what scares many people away from producing, but it is the Producer’s job to get initial funding or find people who can. This requires putting together materials to pitch the project and sell the idea to get people interested.

There are many ways to raise money for a film and the Producer is at the helm of this effort.

Before the Producer can raise money, he or she must put together a budget. This involves breaking down the script to see how much things will cost and what kind of bells and whistles the film will need.

He or she must take into consideration all aspects of the production from pre-production to post, down to the smallest details — from office space and copy paper to visual effects.

Another thing that will inform the budget is scheduling – how many days the film will shoot and in what order — so a Producer will have to think about this early on. A Director will have a voice in scheduling (as discussed below), but when money is a factor, the Producer often has a louder voice.

The Producer hires all the department heads. As mentioned above, the Producer hires the Writer, but the Producer also hires the Director. This is where the “boss” idea trips people up.

The Director does, in effect, work for the Producer, but the Director is hired because of her vision so the Producer supports that vision in every decision he makes, which is why the Director is consulted in choosing department heads and is entitled to pick her First Assistant Director (AD).

A good Producer will make sure that the team he picks is a good match for the Director, just as he chose the Director as the best creative match for the script.

The Producer is also involved with casting, which is, again, in consultation with the Director.

While the Director is working with the creative team, the Producer is working with the production team hiring local crew, securing locations and permits, getting team leaders what they need, and all the mechanical aspects of production. The Producer is the “deal maker” — from SAG contracts and deal memos to negotiating bids from VFX companies.

During pre-production the Producer is also scheduling meetings between the Director and department heads and consulting the Director about budgetary concerns. During production, the Producer is on set supervising the entire team to support the Director’s vision and manage cost reports.

Once the shooting has stopped, the Producer moves on to post-production. As with production, the Producer is a consultant and provides in person support to the Director and Editor. The Producer will also help the Director choose a Composer and the rest of the post team, from sound to color correction.

The Producer will also manage test screenings and feedback for the Director and if a studio is involved, the Producer will be a liaison between the Director and the studio.

When everybody else goes home, the Producer continues to be a champion of the film. After all, a film must find an audience to be successful and all this lands on the Producer, who must put together a distribution plan for both domestic and foreign markets and supervise marketing materials to promote the film.

The Director is responsible for all the creative aspects of a film. This starts with the script. The Director has input on the shooting script and any revisions, digging deep into theme, character development and all aspects of story.

She visualizes the script and figures out how to put that vision onto the screen, considering how it will be shot and who will be cast.

The Director will work with the Producer to develop the look and feel of the film. Will it be dark and moody or sunny and fun? She will pull visual references to demonstrate what she has in mind and use these to create a “mood board” or some sort of visual to help her team grasp her vision.

As mentioned above, the Director has the right to be involved in all the creative decisions. This includes hiring of department heads, (such as Costume Designer, Production Designer, Director of Photography, Editor, etc) finding locations, and/or the construction of locations.

The Director also has a say in scheduling and budgeting. Though these things seem more likely to be a concern to a Producer, a Director has a say in how things get done and often has creative ways to stretch money or reschedule things to save time.

While the Producer is busy with the logistics of production, the Director is working with the Production Designer, the DP and Costume Designer to bring the “look and feel” of the film to life.

They are discussing color palettes, looking at picture references of locations, costumes or other visuals so the team leaders can create or find things to emulate the ideas on screen.

The Director will work with the DP to decide what aspect ratio to shoot and what kind of camera and lenses to use and they will visit locations and start visually planning the shoot with storyboards or shot lists.

Though this is a team effort between the Producer and the Director, the Director is the one who has the vision and casting revolves around how she sees the characters.

The Director is a guiding star for Actors. Some Actors like as much information as they can get from the Director; others come to set having done their homework in secret. It is up to the Director to understand how an Actor wishes to work and be a midwife to his or her performance. In some cases there will be time to rehearse before shooting, but often, all they get is rehearsals on set.

The Director is entitled to a “Director’s cut” as outlined by the DGA. This right is absolute and begins after the Editor finishes her assembly. The time allotted depends on circumstances, but this is generally a 10-week period in which the Director works with the Editor to get her version of the film before the Producer and studio get involved.

After this period the Director is once again in a position to consult with the Producer until the final cut of the film.

Once the picture is locked, the Director will see the film to the end, working with the Composer, the post sound team and Colorist.

If the descriptor of “higher” refers to who has more influence on a production, it really depends on who is the Producer and who is the Director.

Someone like Michael Mann or Sofia Coppola might only be directing a movie, but because of their fame and prior successes, they might have more say on a production than any Producer who is also attached to it. Alternately, if someone like Steven Spielberg is a Producer on a film, he generally will have more sway over its final outcome than most Directors hired for the same production.

In a very general sense, though, the Producer tends to have more influence on a production, as they are often the first person brought on board for it and the last to move on to another project.

However, that doesn’t mean the Producer owns the project – nor the Director. Ownership and final say of a film typically boils down to who or what entity provided the financial backing for it. That means a studio or production company having ownership rights in many cases. For a true independent production, it typically will be whoever provided the most financing, whether that’s a Producer or a Director.

Ten years ago, “producer vs director” was mostly about money and logistics versus creative vision. That’s still true, but tech is quietly changing where the power and pressure sit. AI tools, virtual production, and remote workflows are pushing more decisions earlier, speeding up feedback loops, and rewarding people who can translate between creative and technical teams. If you can speak both languages, you become hard to replace.

This matters because beginners often pick a role based on vibes. “Director sounds cool.” “Producer sounds safe.” But on modern sets, the job is less about the title and more about what you can actually handle when the workflow gets complicated. This section is here to help you make that choice with your eyes open.

AI is already being used for script coverage, budgeting help, shot lists, pitch decks, and fast concept images. Producers tend to adopt it first because it saves time and helps you make decisions faster. Directors use it too, but usually as a creative sandbox, not the final answer.

Here’s the real shift: when AI speeds up planning, teams expect you to show up more prepared. Directors get less patience for “we’ll figure it out on the day.” Producers get less patience for “we’ll fix it later.” If you love structure and momentum, Producer life might feel satisfying. If you love shaping taste and tone, Director still wins, but you’ll need to be organized now, not just inspired.

Virtual production is not only big LED stages. It’s the mindset of building scenes early in Unreal or similar tools, testing camera moves, and solving problems before the shoot. That’s a producer-friendly world because it reduces risk and surprises. It’s also a director-friendly world because you can explore options without burning expensive set time.

The catch is that it front-loads decisions. Someone has to lead the process early, align the team, and keep the creative intent clean while the tech gets complicated. Producers who can protect the vision without becoming a control freak shine here. Directors who can communicate clearly, give specific feedback, and stay calm when tech breaks look like pros fast.

More productions are hybrid now, with editors, VFX, sound, and even producers working remotely. That changes what “being on set” means. Directors may be giving notes from a monitor, and producers may be coordinating approvals across time zones. If you hate constant messaging and quick decisions, this can be draining. If you like steering chaos into order, you’ll thrive.

Also, remote work makes soft skills more important, not less. Clear notes, good taste, and not being a jerk travel well. Confusing feedback and bad energy spread even faster when everything is logged in writing.

• Basic AI literacy: what tools can and cannot do, and where they can save real time
  
• Previs basics: how to communicate shots and scene intent before the shoot
  
• Virtual production vocabulary: enough to talk with VFX and Unreal people without bluffing
  
• Clean communication: concise notes, clear approvals, and no “guess what I mean” feedback
  
• Workflow habits: file naming, version control, and not losing assets at 2 a.m.
  

If you love building systems, solving logistics, negotiating, and keeping a project alive when things go sideways, producing will feel like a game you can win. If you love shaping performance, tone, visuals, and meaning, directing will feel like the most fun pain in the world. The smartest move is to aim for one role, but learn enough of the other to collaborate without friction.

• You might lean Producer if you get satisfaction from plans, budgets, and making the team run smoother
  
• You might lean Director if you obsess over story choices, acting moments, and visual style
  
• You’re in a great place if you can do both, but you should still pick a “primary identity” early
  

If you’re unsure, try this: produce a short film for a friend, then direct one yourself. The experience will tell you the truth faster than any article. Your stress response is the clue. The role that feels hard but energizing is usually the right one.

A Producer hires a Director for the same reason the Director casts an Actor – because he believes in her talent. A Director signs on to a project with a Producer because she knows he will give her the support she needs. Making a film is immensely challenging.

Teamwork is critical. Understanding the relationship between a Producer and Director is a benefit to you, whether you want to be one of the two, or if you work for one of the two.

Note: The relationship between and Producer and a Director in Television is a whole different story.

The responsibilities mentioned in this article are just the basics, but you can read more on the Producer’s Guild website and on dga.org.