Zachary Weckstein
The 40 Year Series: Zachary Weckstein made his debut feature production with The Host. In an exclusive Q&A with The Business of Film (TBOF) he discusses and explains his long-term objectives as a producer. As a first time producer he has a strong ethical foundation of what he expects from himself and his crew. Zachary embodies all the elements that make for a successful independent producer: tenacity, perseverance, and passion to fulfill his ambitions in creating a stable of filmmakers with his determined values under his Pearl Pictures Productions banner.
Those of us in the know discern that in the world of producing independent films, the terrain is spread across a vast interpretation of ‘what’ the term producer designates. Depending on the project, for many it’s securing the funding and getting on board key talent that will drive the salability of the project. For others, it revolves around the deep pockets of securing that funding, yet few embrace the entirety of what a producer’s function should be.
What makes a good producer, and more importantly a good production? In reality, every aspect of the project, finding the scripts or novels or other fictional or non-fiction materials. Employing the right director, editor, cinematographer, and production staff, sourcing and securing financing, and managing budgets, pitching new concept ideas of how the funding will be used to potential investors, casting the actors, has to work 100% in concert for the production to realise its ambitions of monies returned to the investors and the ultimate adjudicator of a film’s success - the public. It is unusual that all those vital elements come together. First and foremost, a producer’s strength lies in his ability to get his investor’s investment back to enable him or her to go back to that investor source for funding for a continuity of a future slate of productions. If making good movies, when all the elements come together, was as easy as it might appear, then the global marketplace would have fewer productions - and paradoxically the opportunities for the independent filmmakers with dreams and aspirations to produce movies could simply not exist. 
L-R Producer Zachary Weckstein & Jeroen Krabbé
BUSINESS OF FILM: Zach, you have completed your first project The Host as an independent producer and are looking to build a stable of productions under your Pearl Pictures Productions with a family of filmmakers. It’s an anomaly to come across a producer driven by the collective collaboration of making films, and looking to the long term to create a model similar to the original Miramax model.
ZACHARY WECKSTEIN:
As with most creative roles, the parameters of what it means to be a producer varies from person to person and project to project. My overall long term aims and philosophy for producing a number of independent films is to create a supportive and sustainable company, with innovative development strategies utilising both Hollywood marketing style and European storytelling. By choosing to work in an industry that I love, work never actually feels like work. At the same time, because I love filmmaking, this doesn’t mean it’s a cakewalk.
TBOF: What is that overall long-term objective in making films and the collaboration of building a team and your role as a producer?
ZW: I am looking at a strategy that secures a future rather than the short-term in the development of Pearl Pictures Productions, and look to retain, develop and have continued relationships with cast and crew. I also believe in a filmmaking model that reduces feature film budgets through the structuring of film activities and collaboration. Even in taking the long-term approach, I continue to look at the present as well as the future. I tend to feel like I have to catch up on all the years I wasn’t producing films.
TBOF: Film is a commodity and art form that has no precise blueprint even with the adaption of a blueprint that was successful before. In the production of The Host did you have a blueprint? If so, was it on structure of the movie or the long-term building of the company?
ZW:
I learned so much more about the industry during my master’s at London Film School, and was around many smart and talented people. My structuring and personal strategies were able to grow to a place where I was ready to make my first feature. I set up Pearl Pictures Productions to operate alongside my production style, which is we work as one unit. Respect is a major part of our operations and style, on and off-set. I endeavour to choose both cast and crew with a similar philosophy. There is zero tolerance for those who aren’t into working hard. I aim for the top, and believe in go big or go home. With The Host, as a first project I also was looking to produce the first internationally distributed Dutch feature film, in English, produced out of the Netherlands. In all my productions I will always be looking for the success of creating an all-round cultural product. The strategies are based on my intuition and knowledge of film rather than taking the financial business school approach used in standard market studies. 
Maryam Hassouni & Daniel Boissevain - Amsterdam Canal House
TBOF: Do standard marketplace studies actually work in the real world?
ZW: Marketplace studies are extremely beneficial when it comes to understanding my competitors or the audience and helps with my predictions of audience reach, etc. Anything that helps remove layers of risk is beneficial, given that the most important product of an independent film company is its financial resources and outcome. Not every film produced, especially independent films, can get distributed. I found that having and maintaining a strong work ethic and personal confidence is paramount. When things go wrong in the entirety of the production and distribution chain and process, staying calm with a smile helps! The shoot for The Host had a quick turnaround - every part of the process was filled with the personal passion of the cast, crew and myself, in the belief of the collective segments that make up the whole.
TBOF: The Host as a first production in terms of cast and crew demonstrates some of the elements in terms of establishing the key talent to build a team. How much throughout the process were you able to exercise your philosophy in respect of how you were able to run the production?
ZW:
I was able to utilise and follow my openness to all cultures from my background of growing up in several countries. I think it helps the productions’ end result and style to have many viewpoints. To this end I fully collaborated with my crew and management, and gave my filmmakers the creative time that they needed. I was fortunate enough to have investors who believed in my methods and ways of structuring the production, and had no interference. This allowed for smooth operations which is a key to success for any business venture. In common with most independent productions, The Host had a tight budget. As a producer, it was necessary to create a process with a short turnover time - in pre-production, production, post-production and distribution. 
Producer Zachary Weckstein & Togo Igawa - Heathrow Airport, London
TBOF: Specific genres aside, the independent film industry is peppered with productions that lack elements to market the film to a global audience. In our discussions, you talked about historical background and context and the ability to layer a film with elements that speak to different cultures in the same but different way - and importantly, lessons that can apply today?
ZW: The Host had over nine nationalities working behind or in front of the camera. In marketing to a global audience, it was invaluable to have those different viewpoints on-set, making it possible to have an opportunity to share various ideas. On the set of The Host, those cultural sensibilities were evident daily.
TBOF: Do you believe that in the broad mix in all levels of the production of The Host actors and below the line you achieved what you were aiming for?
ZW: From an intellectual viewpoint, blending the mix of the worlds of the marketing element that Hollywood offers, along with the beauty in European storytelling and culture, was the formula of the film. I think this allowed me to understand and aim for a broader audience. Hollywood produces a massive amount of productions but smaller European films have heart and soul and can render amazing stories. I believe that good films bring both worlds together. I think that’s what Hitchcock and these other great filmmakers and actors were able to do when they came over to America, and that’s some of the value they brought which made them great filmmakers.
TBOF: Aside from the ability to raise finance, what are the other attributes you think makes for being a good producer?
ZW: Speaking personally, while at London Film School I was able to experience the many roles of a major film production, working as cinematographer, director, editor, production designer, etc. gave me the opportunity to sink my teeth into major and small roles in film. This first hand experience gave me the opportunity to submerge myself in each role and understand the work behind the role, equipment, necessities and the creative aspect behind the role. All of this has helped me to better comprehend the functions of a producer on my debut production because I was able to understand various roles and their workings. For example, when my cinematographer needed something, I came up with cost-saving options and/or suggested alternatives, and at the same time never denied a department’s creative vision for the film. The complete look of a film is affected by elements such as its lighting, costuming, locations, etc. and are key aspects to engage an international audience interest. What also makes for a good producer is learning from each production you work on. 
Suan-Li Ong - Park Chinois Gambling Scene - London
TBOF: What are your aspirations as you look at the world and as a producer? What ethics are you keen that others along with yourself bring to the family you are in the process of ‘birthing’? Post-COVID-19 do you think it’s possible to arrive at a place where the imbalance pre-COVID-19 has a semblance of balance?
ZW: My aspirations as a producer and as a company owner are to build a community of independent filmmakers and produce great films. I look for individuals with a range of talents who are on board to be a part of films of all genres to inspire the uninspired. I look to make films to excite the audience, giving people an amazing experience that brings alive all their senses.
When the question of the ethics of a production is raised, I believe it is everyone’s responsibility in my production ‘family’. If the material in front of the camera is required to be not only politically correct but ethical, then the teamwork and behavior behind the camera must have those values as well. In the scripts that I am reading currently, I look to provide a moral message to the audience, and yet so much of what is read in the tabloids of the film and television industry is immoral. As uncertain as everything is currently, there’s probably never been a better time to be a creative person in film with the high demand on so many platforms.
TBOF: Should films have a moral responsibility to the global audience post-COVID-19? How do you intend to lend your support to the process?
ZW: We all have an opportunity to use the time spent in isolation for self-reflection and use these thoughts to point us in a healthy and positive direction. Our lives are usually so busy that we miss the important small points. Hundreds of thousands of filmmakers around the world have been affected during this global pandemic. This all puts a stark reality on the value of life and our responsibility to the global community as a whole. So many events that surround film have been disrupted as well as our audiences. There have been many filmmakers that have suffered immense pain and fallen ill or lost their lives to COVID-19. An important quick method to continue some semblance of normality is to continue using digital methods in meetings and travel whenever possible, to weather this critical period. I will look to support the global initiatives that are able to provide support to the urgent needs of the film industry. The organisation FIAPF include 34 producer organisations and support all five continents. I look to give my written support behind the financial and production initiatives post-COVID-19 to help and preserve companies, workers, and skills. 
Gladiator turns 20 today (Picture: Universal/Getty Images) Courtesy MetroUK/
TBOF: Finally, what are your favourite films throughout time and who do you admire as producers of independent and major of content for a global audience?
ZW:
I have so many favorite films, one I really love is The Gladiator. From a cinematic standpoint it is amazing. Many films I can watch again and again and continue to discover new things. The Gladiator is so inspirational, the script, the dialogue, soundtrack, it gives you goosebumps, it gives you historical drama, action, and very emotional climaxes. Russell Crowe gave the audience so much just from his expressions, and he definitely deserved the Oscar he won for this. Hans Zimmer’s soundtrack has such energy and a haunting quality that stays with you long after the film is over. 
Robert Evans, pictured in 1974 next to a poster of Chinatown, which he produced with his ex-wife
Ali MacGraw courtesy Daily Telegraph 2017. My interest in producing started during an internship I did in Spain. I worked for a producer in Malaga, and at the same time for a director in New York. The Spanish producer recommended that I take a look at a documentary The Kid Stays in the Picture, the story of the producer Robert Evans and his life story. The moment I watched it, it changed my entire world and led me to understand what I truly wanted to do – produce films. When I saw that documentary, I identified with the role of the producer. Robert Evans began as an actor. He had a creative side to him, but a business side as well. Evans was notorious for his role as a creative producer. There have been plenty of producers who had the finance or at least understood how to finance film and who wanted to get into the creative side, but weren’t really talented in that way. Robert Evans had an eye for talent in front as well as behind the camera, as well as a vision and understanding of what made a good story. From a career path, I felt a lot of similarities as he started his journey as a producer.
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