![]() Linda Reisman: As a creative producer, I am generating the materials. And that’s when I knew where my place was and what I wanted to do.īU Today: What do you look for in the material you produce now? I came to it through working closely with the director on his material. We have producers who come from the business side of the industry. Some are more nuts and bolts-line producers come from production management or physical production. People come to creative producing from a lot of different angles. Paul was the one who gave me those opportunities, starting as an associate producer, so I could work my way up. I worked as his assistant, and he invited me to work with him in New York, and after two years, I said I’d like to start producing. I did a lot of research for Paul, and when he was finished shooting, he asked me to work for him. Coppola and George Lucas were executive producing a film by Paul Schrader. I met them through a magazine I was very involved in, Camera Obscura. I got into producing by working with Francis Ford Coppola and his producer Tom Luddy. Linda Reisman: I went to grad school at the San Francisco Art Institute. We look at the landscape-what are the studios, what are the production companies, the new streaming platforms, where are there opportunities?īU Today: How did you get started in producing? It’s about examining the industry and internships. Right now I’m teaching a course called Creative Producing for Film and Studios and Independents: Navigating the Motion Picture Industry, which is geared towards seniors or students before they take a semester in LA. In person, I tend to teach upper-level undergraduate producing classes. The students meet as a group twice a year, once in Boston, and once in LA. It’s been around for three or four years, and it’s very unique. Linda Reisman: In the fall, I teach in the two-year online MFA low residency screenwriting program. Q &A With Linda Reisman BU Today: What courses do you teach at Emerson? The film made numerous 2018 top-10 film lists and won several awards, including from the National Board of Review and the Los Angeles Film Critics Association.īU Today spoke to Reisman about her career working with directors like Paul Schrader and Francis Ford Coppola, why she thought the Leave No Trace story deserved to become a film, and her love of teaching. Leave No Trace premiered at the Sundance and Cannes festivals and has a 100 percent critics approval rating on Rotten Tomatoes. The script is based on the novel My Abandonment by Peter Rock, which Reisman and her producing partner optioned. They work to adapt to a more traditional life, with differing results. ![]() But their harmonious existence is upended when they are discovered, arrested, and placed under social services. ![]() When the film opens, the two have lived undetected in the Oregon woods for years. Reisman will discuss her career and screen Leave No Trace on campus tonight, February 28, as part of the BU Cinemathèque series, a College of Communication program that brings accomplished filmmakers to campus to discuss their work.ĭirected and written by Debra Granik, Leave No Trace is about an Iraqi War veteran (Ben Foster) who is suffering from post-traumatic stress disorder, and his teenage daughter (Thomasin Harcourt McKenzie). When you get knocked down, get back up again.” “For these types of stories, which are much more challenging to get the financing for, you need passion. “It takes a tremendous amount of tenacity and persistence,” says Reisman. Reisman, an Emerson College senior distinguished producer-in-residence, has produced such films as 2015’s The Danish Girl and 2018’s Leave No Trace-both took a decade or more to shepherd from development to the big screen, with starts and stops along the way. If there’s one thing Linda Reisman has learned from her decades-long career producing critically acclaimed and Oscar-winning films, it’s persistence. ![]()
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