Our Interview went as follows:
MF: So Robby, how would you say that you handle separating the people you are dealing with from the problems that you are handling when it comes to negotiating?
Also, do you have any tips for negotiators who are trying to do this, like myself and other producers in this business?
RB: You have to realize that everyone is human. You need to focus on people’s strengths and weaknesses. By that, I mean what they bring to the table, or what they are lacking. In what they are lacking that is where I try to get them to understand how it is to their advantage to team up with us at Bluegate Entertainment, because working with us on a project we are able to bridge a solution towards developing the person’s weaknesses into strengths.
I really think it is all about compromise. What you are comfortable giving up, and what they are comfortable receiving in the deal. You go into the negotiation knowing that you are not going to get 100% of what you want, and I really think that is a good middle ground to start on (a foundation if you will). Most importantly though, don’t bend over backwards to someone who does not have the bigger picture in mind-achieving the goal of the overall project. Know that you can always walk away!
MF: Great advice. Interesting that you consider the developing of the other party’s talent in your negotiation. I think that gives credibility to your leadership skills as a producer in this industry, and I like the fact that you are not afraid to walk away.
MF: How would you say that you handle positional bargaining tactics? Like for example, when you told me about an actor who offered to “help” you by acting a part in your parody movie and you had him sign a “model release,” then that same actor decided to ask for compensation after the project was wrapped. How would you handle that situation with the positional bargaining tactics?
RB: That situation can be stressful, but that is exactly why I have an entertainment attorney who I discuss theses matters with and colleagues I confer with, who both agreed that I have an “at arm’s length” business relationship with this actor. In general, my counsel advised me to inform him of the 29 contract releases he signed, plus the expenses covered during the project’s promotional campaign by the production company. However, when I spoke to the actor I point out the advantages of having such work on his C.V. and the doors it will open for him in this business.
MF: True. Thank you for that. Not an easy circumstance to handle but it is inevitable. So on another and final note, would you give me an example how you worked mutual benefit into negotiating a deal with a client of yours?
RB: I often have to hear out the clients’ concerns while expressing my own professional concerns for the project’s completion. That being said, I took creative control once when I had this bridal client whose wedding shoot I was producing with a sun setting feature involved. The bride wanted the actual shot of the sunset captured, but I knew it was not optimal for capturing the actual shots of the wedding due to the glare, the spectral light issues reflecting of the tops of people’s heads and into the lenses of the cameras, etc. Therefore, I took editorial/creative control and during the editing process I entered the “sunset” using a “green screen” image to satisfy the client’s needs and my own professional integrity to produce an excellent product and it ultimately worked out- or as you like to say, “ it was mutually beneficial.”
MF: Awesome. Robby thank you so much for your time, knowledge, expertise and input. I know negotiation can be tough sometimes, but you have a great way of going into it and looking at it with a positive attitude. I learn from you, and I hope others who read this sharpen their skills in the art form of negotiation as well.
Thank you for reading,
Michelle Fernandez
LIVMOR Producknz, LLC
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