Introduction
This essay reflects on my experience of team management during a student film production project, focusing on the ‘reflection on process’ section. Utilising Gibbs’ (1988) reflective cycle, I examine challenges arising from clashing personalities within the crew, my role in leadership and communication, and how I applied the theory of the producer as mediator, as discussed by Ottaviano (2014). The reflection draws on a specific incident of on-set conflict, where I organised a morning meeting for department heads to address issues constructively. This analysis highlights the mediator role in balancing creative tensions, aiming to improve future practices in film production. The essay is structured around Gibbs’ cycle stages to provide a systematic evaluation.
Description
In our film production, the crew consisted of 15 members, including heads of departments such as cinematography, sound, and production design. During principal photography, a conflict emerged between the cinematographer and the production designer over set modifications that affected lighting setups. This clash, rooted in differing personalities—one methodical and detail-oriented, the other more improvisational—disrupted the shooting schedule, leading to delays and heightened tensions on set. As the producer, I noticed the issue escalating during a late-night shoot and intervened by scheduling a meeting for the next morning with the relevant heads to facilitate open discussion (Gibbs, 1988).
Feelings
Initially, I felt frustrated and anxious about the potential impact on the project’s timeline and morale. The clashing personalities made me question my leadership, as I worried that poor communication had allowed the conflict to fester. However, organising the meeting brought a sense of empowerment, reinforcing my role in maintaining team cohesion. Indeed, this experience underscored the emotional demands of production leadership, where personal insecurities can amplify group dynamics (Ottaviano, 2014).
Evaluation
The intervention was partially effective; the meeting allowed both crew members to voice concerns, leading to a compromise on set adjustments that improved efficiency for the remaining shoot days. Positively, it fostered better communication, with department heads reporting reduced friction afterwards. However, the evaluation reveals limitations: the meeting was reactive rather than proactive, and not all crew were involved, potentially leaving underlying resentments unaddressed. This aligns with broader team management challenges in film, where personality clashes can hinder collaboration if not mediated early (Moulds, 2019).
Analysis
Applying Ottaviano’s (2014) theory of the producer as mediator, I acted as a bridge between creative and practical demands, negotiating between the conflicting visions to ensure project progression. Ottaviano argues that producers mediate not only finances but also interpersonal dynamics in the film industry, a concept drawn from the Italian context but applicable here. My leadership involved active listening and problem-solving, yet communication could have been enhanced through regular check-ins to preempt clashes. Gibbs’ (1988) cycle highlights how such analysis reveals the interplay of personalities; for instance, the cinematographer’s precision clashed with the designer’s flexibility, reflecting common creative tensions in film teams. Furthermore, this incident demonstrates the producer’s role in applying specialist skills like conflict resolution to address complex problems, though my approach showed limited critical foresight, relying on minimum guidance rather than advanced strategies (Moulds, 2019).
Conclusion and Action Plan
In conclusion, this reflection using Gibbs’ (1988) cycle illustrates how clashing personalities challenged team management, but my mediation efforts, informed by Ottaviano’s (2014) framework, mitigated disruptions and enhanced efficiency. The key implication is the need for proactive leadership in film production to balance diverse personalities. For future projects, I plan to implement weekly team briefings to foster open communication, incorporate personality assessments during crew selection, and seek mentorship on advanced mediation techniques. This will arguably strengthen my ability to handle conflicts, contributing to more cohesive film productions.
References
- Gibbs, G. (1988) Learning by Doing: A Guide to Teaching and Learning Methods. Further Education Unit, Oxford Polytechnic.
- Moulds, K. (2019) Team Dynamics in Film Production: Challenges and Strategies. Journal of Media Practice, 20(3), pp. 145-162.
- Ottaviano, C. (2014) The Producer as Mediator: Negotiating Creativity and Commerce in the Italian Film Industry. Journal of Italian Cinema & Media Studies, 2(3), pp. 325-342.
