When I worked at a studio, I found it funny that we referred to our development execs as the creatives. Not that they were creating the shows, but compared to finance or strategy folks, development execs were way more creative. They read scripts all day, took tons of pitches, provided story notes and helped decide who to cast in the show. That’s pretty creative work, when you think about it.
So I had to cut them some slack if they couldn’t quantify everything; they’re creatives!
I say funny, because along the way I heard some talent on one of our shows—a showrunner, so the top writer/producer—refer to our development executives as the “suits” at our studio. And, they weren’t wrong?
I’d never considered the development execs the suits, but if your only point of contact with our studio is a development exec, then they seem like the business side of the house, don’t they?
It all depends on your point of view for who is a creative, doesn’t it? The director probably seems like a suit to an actor—an authoritarian bossing them around—while that same director drives the producer crazy with their creative demands. Meanwhile, the production folks are just trying to get shows made, which makes them seem like creative types to the finance folks just trying to get everyone paid.
As I was starting my website—writing the first articles and sketching out a business plan—I set about to define my target audience. I knew I wanted to target the business side of Hollywood, but thinking about “what is business versus creative?”, I realized there isn’t just two sides on the “creative vs business” battle, but it’s a spectrum.
Here is that spectrum that I jotted down and eventually turned into a Powerpoint slide.
For the most part I think everyone on this line would call everyone to their right a “suit”. Which means business. So I like this spectrum.
Some quick insights
A lot of this depends on what I define as “creative” versus “ business” in the first place. I used those terms since that seems to echo the jargon in the industry. I debated calling this left brain-right brain, though I’ve never liked that terminology since apparently the science behind it isn’t great. I also debated some other definitions (see below), but this worked best.
And the reason I think it works is it captures two inherent tensions, in my mind. First, who cares most about making the product? The closer you get to it, the more you are talent, actively crafting the final product. A creative. On the other side, who cares most about the bottom line? Well, the business folks. If you want a rule of thumb, ask this question, “Who would care the most about going over budget?” The more you care, the more “business” you are.
I debated calling this the “qualitative versus quantitative, but that doesn’t work either.
Or you could call it the “gut versus data” debate. But that doesn’t get at the difference between the business folks and the creatives, really. Some business folks eschew numbers, sort of like the development execs I mentioned above. That’s a pretty qualitative group of people—in my experience—though they are more business than screenwriters.
Creativity is the pretty clear driver on the left. And the opposite of creativity isn’t data. Data analytics and math actually require a lot of creativity. Not that business should be the death of creativity, but it’s what we all assume.
Not Included Jobs
These jobs aren’t left out because they don’t deserve a spot, but because I ran out of space. And for some, I didn’t know where to fit them in. As is, this was a pretty clean line of the people involved in getting a piece of content out there in the world.
I did want to get in the below the line folks—like set design and make up and wardrobe—but again couldn’t get them to fit neatly. They would be on the more creative side, though to the right of some talent because they start and end with a budget. Precisely where, I’m not sure.
I had no idea where to put production assistants. Probably near the directors—which is where many want to end up—but they aren’t really creatives, just following orders. Programming folks balance both and are probably in the middle. Script readers are likely on the creative end, as they are usually aspiring screenwriters themselves.
Did the spectrum help with the website?
Definitely. I knew my goal was to skew towards the business end of the spectrum, but this helped put what jobs are in that side of the spectrum. And how close or far they are from the creative end. While I think everyone in Hollywood could learn something from my website, the business side could probably apply the most.
And it helped convince me this is a niche I could grow. There is a gap, in my opinion, between investor-focused publishers, who mainly parse 10Ks for stock price information, and the Hollywood trades, who focus on the who is cast in what.