Bookpleasures is about to take you on a journey through the remarkable career of Carol Baum, a formidable figure in the world of film and television production. Get ready to be motivated.

With an impressive portfolio boasting 34 remarkable movies, including 17 independent gems, Carol's creative prowess knows no bounds.

As co-president of Sandollar Productions, the renowned company established by Dolly Parton and Sandy Gallin, she has left a lasting impact on the industry.

From the beloved classic Father of the Bride to the Academy Award-winning documentary, Common Threads: Stories from the Quilt. Carol's productions have touched the hearts of millions.

She not only promotes mainstream films but also fearlessly supports independent films like The Good Girl, My First Mister, and Boychoir, creating cinematic experiences that defy expectations.

Carol's passion for storytelling goes beyond the silver screen, as she imparts her invaluable knowledge as a professor in the prestigious Film and Television Production Division at USC's School of Cinematic Arts.

She serves as a mentor for the esteemed Peter Stark Producing Program, nurturing the next generation of visionary producers.

Norm: Good day Carol and thanks for taking part in our interview.

Can you elaborate on your teaching experience at the American Film Institute and USC? How has this experience influenced your decision to write this book?

Carol: I've been teaching undergraduates and graduates at both AFI and USC. Most students are nervous about what they are going to do when they graduate, and I learned from them how important it is to spell out what lies ahead.

The pandemic set them back a bit and they are trying to catch up.

My class emphasizes the skills they need to get a job and survive in Hollywood. Some students want to make films right off the bat while others want an industry job.

Others want to be editors or cinematographers. Most of the producing books I've read don't tell the students the basic tools they need to survive.

Using my syllabus and lectures as a template, I thought it would be useful to put down my class in book form.

Norm: In your book, Creative Producing: A Pitch-to-Picture Guide to Movie Development, you mention providing an intimate look behind the Hollywood curtain and a guide to the skills needed to survive as a producer.

Could you give us a glimpse into some of the key insights and advice you share in the book?

Carol: Producers are storytellers by nature. We commit to an idea that we love and tell it again and again until someone who can finance a script comes on board.

Refining pitching skills, which include telling a coherent story, are key. In my class, we pitch frequently until the students get it right.

They tell their stories to me, to each other, and to guests. The feedback they get is invaluable.

The book also emphasizes being an advocate for your project, how to take rejection, how to find material in the first place, how to promote the concept, and finally how to get it financed.

Never giving up is my mantra. As my partner likes to say, “You can’t beat off a good idea with a stick.”

Norm: Your journey from a New Jersey suburb to Hollywood is quite remarkable.

How did you produce 34 movies while balancing your responsibilities as a parent and spouse?

What were some challenges you faced and how did you overcome them?

Carol: Work and motherhood often come into conflict. I set strict boundaries and don't allow business people to call after hours.

It's important to make people respect these boundaries and not phone or text at inappropriate times. There were some jobs that I didn't get because I was raising a family, but those would not have been a good fit.

When I was a young mother in my publishing days, I was the only one with children. The tide has turned, and many women and men raise families while they are working.

When I first saw a bassinet in a senior VP's office, I was shocked and thought I was born too soon. I’m happy to report that raising a family is admired today.

Bosses want well-rounded people with many interests. It’s important to talk about hobbies and activities that make you human. A person who is obsessed with work might lose the job to the person who is engaged in a wide variety of activities.

Norm: Hearing about the star-studded cameos in your story, including Robert De Niro, Quentin Tarantino, Sam Shepard, and Dolly Parton, is fascinating.

Could you share a memorable experience or anecdote involving one of these individuals that had a significant impact on your career or personal growth?

Carol: Running Sandy Gallin and Dolly Parton’s company, Sandollar, was a unique experience. My job was to find movies for Dolly and Sandy’s other clients, Michael Jackson and Neil Diamond.

Dolly was very specific about what she would and wouldn’t do. I found Straight Talk, in which she plays a show host who gives advice using her common sense wisdom.

The role fit her like a glove because it was about a woman who values the truth. Dolly has a strong sense of right and wrong. She is a keen observer of people and knew who was working hard and who was shirking. Sandy was a very driven man with a great sense of humor. At a big CAA meeting that was held to pitch Dolly new ideas, Sandy took Dolly’s long earrings and put them on to see what people would say. No one commented, but we had a good laugh.

Norm: As a producer, what do you think are the most common misconceptions about the producer's role in the film industry? How do you address these misconceptions in your book?

Carol: The book explains the various kinds of producers: the line producer is hired after the film is greenlit, does the budget and keeps the film on schedule, the creative producer is the one who finds the project and lives with it for as long as it takes, the financial producer is the one who raises the money.

The credits are interchangeable. Sometimes I get a producer credit and sometimes an executive producer credit.

The producer is the person who collects the Oscar as a reward for all the hard work and years that it takes to watch a project come to fruition.

When line producers want to become creative producers, they sometimes have a hard time transitioning because they don’t have the agent relationships that are key to moving projects forward.

Norm: How does your book cater to different audiences, such as film students, movie enthusiasts, and individuals changing careers? What unique insights or practical advice does it offer to each of these groups?

Carol: The book can teach life lessons: how to be an advocate for what you believe in, the importance of networking, treating people respectfully, reading and seeing everything, cultivating your own way of looking at the world instead of relying on social media to tell you what you think.

Everyone respects the person who has good taste and fights for the project even when many people don’t see its validity. The Good Girl took six years to get made, Dead Ringers ten.  If I had given up, those projects wouldn’t have seen the light of day.  

Norm: Your book is titled Creative Producing. Can you explain the concept of creative producing and how it differs from traditional producing? How can aspiring producers develop their creative producing skills?

Carol: Creative producing encompasses a lot of things. Since we are in it from the inception, there's ownership and commitment that has to last for a long time.

It can take anywhere between five and ten years to get a picture made. Scripts are available online and anybody who wants to enter the business should read tons of scripts and learn the good ones from the bad ones.

When you read a lot of scripts, it becomes clear why writers like Aaron Sorkin, David Mamet, and David Koepp have risen to the top of their profession.

Study the scripts that have won Oscars and you will begin to understand why these writers were nominated in the first place.

Good writing attracts actors and good actors attract directors.  Once you have all of them, money will follow.

Norm: As a mentor for the Peter Stark Producing Program at USC, what advice do you often give to aspiring producers? Are there any specific challenges or trends in the industry that you believe they should know of?

Carol: Aspiring producers have to read, read, read. Whether we're reading a manuscript that's yet to be published or a new writer who is yet undiscovered, a good producer will separate talent from the pretenders. Streaming has changed things. The streaming companies insist on having stars attached to scripts, which is a difficult task.

How you get a star without the backing of a financier is a challenge that we face every day. Building up relationships with actors' agents is key.

If an agent likes your project, chances are it will find its way into the actors’ hands, even without an offer. How do you get to know talent agents? Any industry job that involves networking is a start. Working for a major agency is recommended.

Norm: Could you tell us a bit more about the entertainment industry's male-dominated landscape during your career and how you navigated it successfully? What advice do you have for women aspiring to make their mark in the industry?

Carol: When I started in publishing, it was a mecca for young women graduates. We were the readers, the note takers, the hand holders.

Men ruled the roost, networked with each other, and helped each other when a job became open. It took years before women would be in positions of power to help each other.

Now, many women are running studios. Women directors are being hired. Older women are being cast. It’s been a slow growth for women, but it’s happening. The rules for women are the same as for men: work hard, read everything, and have a strong opinion. A strong work ethic will be noticed.

Norm: Apart from your teaching and producing career, you've dabbled in television movies, documentaries, and independent films. How do these different mediums and genres influence your approach to producing? Are there any specific insights you share in your book regarding producing for these different formats?

Carol: The rules in the different arenas are the same. Find a project you love, whether it's a television movie, a doc, or a small film and beat a path to the financer's door.

Good taste is key to being recognized. Love the writer and you’ll be ahead of the game.

Norm: We appreciate your time and participation in this online interview. Thank you once again for your valuable insights. We wish you the best of luck in all your future endeavors.