Every director I know has struggled with this question at some point: how do I find a producer? It’s one of the most important relationships in filmmaking, and yet there’s surprisingly little practical guidance out there for Australian filmmakers on how to approach it.

Let me share what I’ve observed from covering the industry and talking to both directors and producers about what works and what doesn’t.

Why You Need a Producer

Let me start with why this matters. If you’re a director, you might think you can produce your own film. Some people do, and occasionally it works. But in the vast majority of cases, directing and producing are fundamentally different skill sets, and trying to do both means doing neither well.

A good producer handles financing, contracts, logistics, scheduling, and the business side of the production so you can focus on the creative work. They also bring a perspective that directors often lack: the ability to see the project from a market and audience perspective, not just an artistic one.

In the Australian context, having a credible producer attached to your project is essentially a prerequisite for accessing major funding. Screen Australia and the state agencies want to see that a project has genuine producing expertise behind it, not just a director wearing multiple hats.

Where to Look

Screen industry organisations. Screen Producers Australia maintains a membership directory that includes producers at various career stages. The state screen agencies also maintain databases of local producers and can sometimes facilitate introductions.

Festivals and markets. This is probably the most effective way to meet producers. Attend MIFF, SFF, AFF, and CinefestOZ as an industry delegate. Go to the networking events, the panels, and the receptions. Producers attend these events specifically to find projects.

Short film screenings. If you’ve made a short film that’s screening at a festival, producers are in the audience. Many producing partnerships have started when a producer saw a short film they responded to and reached out to the director afterward.

Industry labs and programs. Screenwriting and development programs like those run by AFTRS, the Adelaide Film Festival, and various state agencies often include producing participants. These programs are designed to facilitate creative partnerships.

Recommendations. Ask people you trust in the industry. Directors who’ve recently found producers, script editors, development executives at screen agencies. The Australian film industry is small and interconnected, and word of mouth is how many partnerships form.

What to Look For

Not every producer is right for every project. Here’s what matters.

Track record. Have they actually produced completed films? A producer with credits demonstrates that they can get projects across the finish line. Check their IMDB page and watch their previous work if you can.

Genre fit. A producer who specialises in documentary is unlikely to be the right partner for your horror film, and vice versa. Look for producers whose existing body of work aligns with what you’re making.

Working style. Some producers are hands-on creative collaborators. Others focus almost entirely on the business side. Neither approach is wrong, but you need to know what you need and find someone whose style matches.

Financing relationships. In Australia, a producer’s existing relationships with funding bodies, distributors, and investors are enormously valuable. A producer who has successfully navigated Screen Australia’s processes before will be much more effective than one who hasn’t.

Passion for the project. This sounds soft, but it matters. Making a film takes years, and you need a producer who genuinely believes in the story. If they’re only interested because they see a business opportunity, the partnership will struggle when things get difficult.

How to Approach a Producer

When you approach a producer, be professional and concise. Have a pitch document ready that includes a logline, a short synopsis, a director’s statement, and any supporting materials like a script, a look book, or a proof-of-concept short.

Don’t lead with “I’ve got an idea for a movie.” Lead with something concrete. “I’ve written a feature script about X. It’s in this genre, aimed at this audience, and I believe it’s a strong fit for Screen Australia’s Y program.”

Be honest about where the project is at. If it’s an early-stage concept, say so. If you have a complete script, say that. Producers appreciate transparency about the work that’s been done and the work that remains.

Building the Relationship

Finding a producer is just the beginning. Building a productive working relationship takes time, communication, and mutual respect. Establish clear expectations early about decision-making authority, communication frequency, and creative boundaries.

The best director-producer partnerships I’ve observed are ones where both parties bring complementary strengths and are honest with each other. If the director can hear tough feedback about their script and the producer can accept that certain creative decisions belong to the director, the partnership has a foundation to build on.

Australian cinema is better when directors and producers find each other and build lasting working relationships. Take the time to find the right partner. Your film will be better for it.