The Producer-Creator Relationship: An Undervalued Contribution?
What does it truly mean to be a producer in today’s television industry? Are they merely financiers, or do they play an essential creative role? At a recent panel discussion moderated by Alexandra Lebret, a group of leading industry professionals explored these questions. The panel featured Frederic Balmary, Chief Business Officer at Banijay France; Ioanina Pavel, producer and co-founder of May One Romania; Alon Aranya, writer, creator, producer, and founder of Paper Plane Productions; and Sheila Nortley, EP and Head of Drama at Osun Group. Together, they examined the producer’s evolving role, the differences between U.S. and European production models, and the crucial issue of intellectual property (IP) ownership.
The panel opened with a fundamental question: If a producer is deeply involved in shaping a story, does that make them a creative?
Sheila Nortley emphasized the fluid nature of the producer’s job, especially for those who come from independent film: “There is no direct one entry point into producing. Some come in through finance, others through on-the-ground production roles. I came in through independent film, you are working with a much smaller team and a significantly smaller budget and the role of the producer shifts and forms into whatever it needs to be in order to get the story told. My foundation was building these very story-led projects in which I had to work very closely with the writer and was very embedded in the development process. It was an unconventional route before transitioning into mainstream high-end TV, Stay Close and Supacell. But that perspective I think is quite unique and means that the foundation for me will always be the story first and everything else second.”
Ioanina Pavel reflected on her time at HBO, where she learned the nuances of creative producing: “In Romania, there was no tradition for creative producing in TV. HBO really planted its flag in Budapest 15 years ago, and that’s how I learned this role. That's how I got into creative producing and I think it is a creative role and it's the person that shepherds the vision of the creator throughout the process of making the show. It starts with the script phase where you nurture the idea and milk the script and go back and forth with drafts with the author and then afterwards you go on set and you make sure that the vision that was nurtured throughout two or three years of development is acted on by the director and the film crew and then in post-production, obviously, other than the delivery, the creative producer has that function and that responsibility.”
At the same time, Pavel pointed out that commissioners at broadcasters and streamers also play a creative role: “You’re in constant dialogue with commissioners from the script stage through post-production. At the end of the day, it’s their storefront—you’re producing something they want to put out.”
One of the major distinctions raised in the discussion was the difference between the U.S. and European production models. Alon Aranya, who has worked extensively in both markets, described the contrast:
“In America, producers don’t have to finance the show—it’s the studio or the streamer that decides. You either get a yes or a no, and that’s the end of the financing conversation. But in Europe, producers are responsible for raising money, which means they have more ownership over the project.”
Aranya argued that this independence can be creatively liberating: “I enjoy waking up in the morning and not waiting for some answer from a streamer or a big studio. In Europe, you ask yourself: ‘How do we get this done?’ because it’s ours, not theirs. You make the decisions.”
Frederic Balmary echoed this sentiment, noting that Banijay’s approach is to empower producers rather than dictate what they should create: “Championing creativity is our DNA. We give producers total creative freedom. They can develop whatever they want, collaborate with whoever they want, and focus on storytelling. Our job is to provide business stability and infrastructure so they can push creative boundaries.”
Ownership of IP was another hot topic. In the U.S., even top producers often do not own the rights to the shows they develop, whereas in Europe, production companies tend to retain more control. Balmary highlighted why this matters: “Owning IP allows us to reinvest in creativity—new shows, new development, new scripts. The European model is great for that. It’s all about talent and IP.”
Aranya pointed out that this distinction impacts the business value of production companies: “In America, a lot of great developers work in the business, but they don’t own anything. That’s why American production companies have less asset value compared to their European counterparts.”
While some may view producing as a logistical role, the panelists argued that problem-solving itself is a creative act. Sheila Nortley shared her perspective: “I don’t think we wear too many hats. In the UK, producers are involved in everything—script development, casting, performance, music, even marketing. We’re ensuring the authenticity of the story, thinking about the audience, and making sure the show connects. That is creative work.”
She also described the on-the-ground challenges of producing: “I loved being on set, being in the middle of everything, putting out small fires every day. Finding creative solutions to logistical or budget problems is just as much a part of storytelling as writing the script.”
The discussion also touched on the sometimes-blurry lines between producers, broadcasters, and creators. Ioanina Pavel noted that in Romania, the traditional producer was simply a financier: “In the past, the producer’s job was just to raise money from film funds. Now, as we move toward a TV model, defining the creative role of the producer is more important than ever.”
Lebret, drawing from her experience lobbying for producers' rights, posed a provocative question: “Broadcasters and streamers claim they’re creative, but they’re not the creator. At the same time, producers claim to be creative, but they’re not the writer. Where do we draw the line? Should we adopt clearer rules like the PGA does in the U.S.?”
Pavel agreed that clearer definitions could be beneficial, especially when working with international partners: “To be competitive on an international level, we need to be speaking the same language. Otherwise, how do we work with streamers and major broadcasters coming into the European market?”
The panelists agreed that producing is more than just financing—it’s about vision, problem-solving, and storytelling. Aranya summed it up: “It takes a village to make a great show. It’s never just one genius writing in isolation. TV is a craft. It takes years to develop the skills, and every role—writer, producer, director, executive—plays a part in shaping the final product.”
Ultimately, the discussion reinforced the idea that the producer’s role is evolving. As the industry changes, it must recognize that producers are not just financiers; they are creative leaders who help shape and bring great television to life.
Sheila Nortley emphasized the fluid nature of the producer’s job, especially for those who come from independent film: “There is no direct one entry point into producing. Some come in through finance, others through on-the-ground production roles. I came in through independent film, you are working with a much smaller team and a significantly smaller budget and the role of the producer shifts and forms into whatever it needs to be in order to get the story told. My foundation was building these very story-led projects in which I had to work very closely with the writer and was very embedded in the development process. It was an unconventional route before transitioning into mainstream high-end TV, Stay Close and Supacell. But that perspective I think is quite unique and means that the foundation for me will always be the story first and everything else second.”
Ioanina Pavel reflected on her time at HBO, where she learned the nuances of creative producing: “In Romania, there was no tradition for creative producing in TV. HBO really planted its flag in Budapest 15 years ago, and that’s how I learned this role. That's how I got into creative producing and I think it is a creative role and it's the person that shepherds the vision of the creator throughout the process of making the show. It starts with the script phase where you nurture the idea and milk the script and go back and forth with drafts with the author and then afterwards you go on set and you make sure that the vision that was nurtured throughout two or three years of development is acted on by the director and the film crew and then in post-production, obviously, other than the delivery, the creative producer has that function and that responsibility.”
At the same time, Pavel pointed out that commissioners at broadcasters and streamers also play a creative role: “You’re in constant dialogue with commissioners from the script stage through post-production. At the end of the day, it’s their storefront—you’re producing something they want to put out.”
One of the major distinctions raised in the discussion was the difference between the U.S. and European production models. Alon Aranya, who has worked extensively in both markets, described the contrast:
“In America, producers don’t have to finance the show—it’s the studio or the streamer that decides. You either get a yes or a no, and that’s the end of the financing conversation. But in Europe, producers are responsible for raising money, which means they have more ownership over the project.”
Aranya argued that this independence can be creatively liberating: “I enjoy waking up in the morning and not waiting for some answer from a streamer or a big studio. In Europe, you ask yourself: ‘How do we get this done?’ because it’s ours, not theirs. You make the decisions.”
Frederic Balmary echoed this sentiment, noting that Banijay’s approach is to empower producers rather than dictate what they should create: “Championing creativity is our DNA. We give producers total creative freedom. They can develop whatever they want, collaborate with whoever they want, and focus on storytelling. Our job is to provide business stability and infrastructure so they can push creative boundaries.”
Ownership of IP was another hot topic. In the U.S., even top producers often do not own the rights to the shows they develop, whereas in Europe, production companies tend to retain more control. Balmary highlighted why this matters: “Owning IP allows us to reinvest in creativity—new shows, new development, new scripts. The European model is great for that. It’s all about talent and IP.”
Aranya pointed out that this distinction impacts the business value of production companies: “In America, a lot of great developers work in the business, but they don’t own anything. That’s why American production companies have less asset value compared to their European counterparts.”
While some may view producing as a logistical role, the panelists argued that problem-solving itself is a creative act. Sheila Nortley shared her perspective: “I don’t think we wear too many hats. In the UK, producers are involved in everything—script development, casting, performance, music, even marketing. We’re ensuring the authenticity of the story, thinking about the audience, and making sure the show connects. That is creative work.”
She also described the on-the-ground challenges of producing: “I loved being on set, being in the middle of everything, putting out small fires every day. Finding creative solutions to logistical or budget problems is just as much a part of storytelling as writing the script.”
The discussion also touched on the sometimes-blurry lines between producers, broadcasters, and creators. Ioanina Pavel noted that in Romania, the traditional producer was simply a financier: “In the past, the producer’s job was just to raise money from film funds. Now, as we move toward a TV model, defining the creative role of the producer is more important than ever.”
Lebret, drawing from her experience lobbying for producers' rights, posed a provocative question: “Broadcasters and streamers claim they’re creative, but they’re not the creator. At the same time, producers claim to be creative, but they’re not the writer. Where do we draw the line? Should we adopt clearer rules like the PGA does in the U.S.?”
Pavel agreed that clearer definitions could be beneficial, especially when working with international partners: “To be competitive on an international level, we need to be speaking the same language. Otherwise, how do we work with streamers and major broadcasters coming into the European market?”
The panelists agreed that producing is more than just financing—it’s about vision, problem-solving, and storytelling. Aranya summed it up: “It takes a village to make a great show. It’s never just one genius writing in isolation. TV is a craft. It takes years to develop the skills, and every role—writer, producer, director, executive—plays a part in shaping the final product.”
Ultimately, the discussion reinforced the idea that the producer’s role is evolving. As the industry changes, it must recognize that producers are not just financiers; they are creative leaders who help shape and bring great television to life.
