What does it take to get a film's production off the ground and humming smoothly and efficiently? We spoke with Olivia Kavanaugh, line producer for the Oscar Best Picture frontrunner film Anora, to find out. 

From finding the right department heads, the significance of early soft prep, and budget management, to the necessity of flexibility, Kavanaugh provides deep insight into the challenges line producers face when working on a production and how they can make achieve the results they need.

This is also a fantastic interview for those who would like to have a better understanding of the role of a line producer and the impact they have on the filmmaking process. 

The importance of early soft prep

Kavanaugh emphasizes the value of starting soft prep as early as possible. She states, "Getting soft prep started as early as possible can’t be underestimated. 

Being prepared, having established relationships within the community you’re working with, and having time to carefully consider the key ingredients you’re choosing to make the movie: department heads, cast, and locations is everything."

For Anora, which was filmed in Brighton Beach, Brooklyn, Kavanaugh began soft prep six months prior to filming. This early start allowed her to get "boots on the ground," as she puts it, fostering connections and scouting locations. 

Her familiarity with Russian, from her academic background, further helped her integrate into the community. "I studied Russian literature in school and speak a little Russian from my time studying abroad, so that was helpful in getting a foot in the door in many places," she explains.

Scouting locations and managing budgets

On a limited budget, Kavanaugh and other producers often took on initial location scouting themselves. "When budget is limited, like on Anora, often the other producers and I end up doing preliminary scouting and locking as many of the main locations as possible before bringing on an LM," she notes. 

Once they secured key locations, like a mansion found by the director on Zillow, they brought in location manager Ross Brodar eight to ten weeks out from filming. "The hero mansion we used, [Director] Sean Baker had found on Zillow and sent me a link with the message ‘we must get this house,’" she recalls, highlighting the personal dedication required.

Kavanaugh also emphasizes the importance of making timely decisions during scouting. "The faster that decisions are made regarding locations, the better creatively and logistically prepared you will be when shoot day comes," she advises, recounting a past experience where indecision led to logistical challenges and additional expenses.

Selecting the right department heads

For Kavanaugh, selecting department heads who understand the project’s budget and limitations is crucial. "Especially when the budget is limited, it’s so important to make sure you’re choosing people for every role who have a ‘big picture’ producorial mindset," she explains. She seeks those who are genuinely excited about the project and adept at problem-solving. "You want solution oriented creative thinkers who come with ideas on HOW to make it work even when the asks are last minute or difficult."

She also underscores the importance of department heads who respect and appreciate the production team. "A quality that is huge for me is respect and appreciation for the production team," she states. 

She praises key figures on Anora, like Makeup Artist Annie Johnson and Production Supervisor Rhyan Elliott, illustrating how the best department heads exhibit inventiveness and self-sufficiency despite challenges.

The value of flexibility

"Flexibility is creative freedom, and key to both is minimalism," Kavanaugh remarks. She advocates for maintaining a small crew and minimal equipment to allow for adaptability. She shares an example: "So say for instance you’re trying to film a scene with seagulls on the beach at sunset and you are behind schedule, the sunset moves out of frame and the seagulls fly to another part of the beach—you’re stuck."

Balancing flexibility with constraints, such as location permits and business hours, requires foresight and clear communication. "You need to think ahead, be respectful of the world going on outside of the film, and be very careful about what you’re communicating and when," she advises, based on her experience with shifting schedules on Anora.

Shifting between budget scales

Kavanaugh shares her experience transitioning from large to small budget films. "For me transitioning from bigger to smaller sets was exhilarating. There is less opportunity to delegate on smaller films so you will get more involved in the everyday decisions," she shares. 

She highlights the importance of focusing on quality, hiring a team comfortable wearing multiple hats, and staying "small, nimble, and decisive."

Conversely, on larger budgets, the challenge lies in utilizing resources wisely while navigating associated bureaucratic challenges. "The actual filmmaking only gets easier. You have more tools, more time, more support. The challenge on bigger budget films becomes fighting to use the additional resources in the right ways," she explains.

Post-production involvement

While a line producer’s primary role ends with production, Kavanaugh chooses to remain engaged through post-production, especially on projects she deeply cares about. "With projects near and dear to my heart like Anora I make clear from the beginning that I will stay involved in the budget, staff and vendor conversations up until delivery," she mentions. By staying involved, she supports the post-production team, ensuring continuity and the project’s overall success.

Last Take

Kavanaugh's insights provide a comprehensive guide for those navigating the multifaceted role of a line producer, emphasizing early preparation, strategic decision-making, and the importance of community and flexibility in filmmaking. We thank her for taking the time to speak with us and share her insights.

You can find Olivia on LinkedIn or IMDB.