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Jennifer Furlong Sellar (She/Her) shared thisProud to be part of the team! ✨#storyproducerJennifer Furlong Sellar (She/Her) shared thisWell friends, I never could have imagined something like this ever happening in my life. THE NUMBER ONE PODCAST IN THE WORRLLDDDDDD!!!!!! You all are insane. Wish I could hug every single one of you. I love you ❤️
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Jennifer Furlong Sellar (She/Her) shared this✨Read it for the articles. #storyproducer
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Jennifer Furlong Sellar (She/Her) shared thisThis is cool! What type do you need? #producerlifeJennifer Furlong Sellar (She/Her) shared thisWe thought it might be a good idea to bring this back. Originally posted a few years ago, it is almost more relevant today as independent writers and directors and other aspiring filmmakers look for "a producer." Knowing what different producer roles are and what they do can help you narrow your search, and help you not spam random people who have "producer" as part of their title, trying to pitch them your script to buy or your project to invest in when that isn't what they do. When posting that you're looking for "a producer" specificity can help you connect with the right people. Happy filmmaking! #SpaceDreamProductions #FilmmakingActually #Producer #Producers #TheMoreYouKnow #FilmEducation #Education #Learning #Networking
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Jennifer Furlong Sellar (She/Her) shared thisGood map. No notes. 🙌🌻Jennifer Furlong Sellar (She/Her) shared thisThey all have the word "producer" in the title... but the roles are completely different. I kept mixing them up when I first started learning about film production. Nobody seems to explain them in a simple way. So here's what I've pieced together so far: 1. The Producer → Owns the project from day one → Often starts before the script even exists → Makes the key creative and business decisions → Doesn't run the call sheet (that's not their job) 2. The Line Producer → Joins once the budget becomes real → Owns every dollar and every day on set → Has little to no creative authority → Makes sure the plan actually works 3. The Executive Producer → Brings money, talent, relationships, or rights → Can show up on day one or a week before release → Authority depends on what they bring to the table → Rarely manages day-to-day production 4. The Co-Producer → Takes responsibility for a meaningful part of the work → Usually joins during development or production → Shares the workload, not the authorship → Paid less than the lead producer and may or may not get points The timeline makes it even clearer: 1. The Producer is there for almost the entire journey. 2. The Line Producer lives in prepro and production. 3. The Executive Producer appears at key moments. 4. The Co-Producer helps carry some of the load. I'm still learning what all of this looks like in practice, but understanding who does what (and when they do it) changes how you read film credits forever. What's one film industry role you wish someone had explained to you sooner? ♻️ Find this interesting? Repost for your network. 📌 Follow for more insights that spark big ideas.
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Jennifer Furlong Sellar (She/Her) shared this💫 Very cool to be part of the awesome team at Financial Audit! #3!! 👏🏻👏🏻👏🏻👏🏻#storyproducer #calebhammer #financialaudit #podcast
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Jennifer Furlong Sellar (She/Her) shared this
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Jennifer Furlong Sellar (She/Her) shared thisHi LinkedIn Seeking introductions: We are shooting a modern day “Dear Abby” where guests get great advice & a new fabulous look from wise hair stylists. (It’s an inner & outer beauty show,) We’d love to potentially connect with brands like Kleenex, (or any other brands who invest in & elevate human connection) to chat about collaboration. Ty! 💫 Jenn & Uilani
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Jennifer Furlong Sellar (She/Her) shared thisHi Linkedin! I’m launching a show with a former Dr. Phil colleague & producer, Uilani A. Gray If you feel like it’s a good time to attach your product or brand to some art that elevates #humanconection and offers hope - let’s talk! Please watch and follow “Chairapy” across socials. #hair #makeover #advice
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Jennifer Furlong Sellar (She/Her) shared thisHi brands, I have two shows. ✅ One with fellow producer Uilani A. Gray . Let’s talk. 💫Jennifer Furlong Sellar (She/Her) shared thisthis is where it’s all heading: brands are making entertainment a top priority. They aren’t just marketing anymore… they’re launching studios. they’re building entertainment teams. they’re partnering directly with hollywood. not to advertise. to produce. to own. → their stories → their audiences → their cultural relevance → their emotional equity and this isn’t a trend. it’s a structural shift. because when a brand owns great IP, it doesn’t live on the side. it becomes the engine. one strong piece of entertainment can now power: – paid media – social – PR – partnerships – retail moments – commerce – community – experiences – live events everything ladders up. this isn’t content marketing. this is brand-building through entertainment infrastructure. infrastructure that: – compounds trust – creates fandom – drives cultural relevance – builds long-term assets – unlocks entirely new revenue streams ads disappear. stories endure. attention rents. entertainment owns. we’re still early…but the direction is locked in. movies. television. documentaries. events. experiences. culture-defining IP. this is no longer experimental. this is the next operating system for brand growth, and for the entertainment industry itself. Major congrats to Pam Kaufman, Richard Dickson & Gap. A bold, smart, and very strategic move. and a continued sign of what’s to come… Exciting times.
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Jennifer Furlong Sellar (She/Her) liked thisJennifer Furlong Sellar (She/Her) liked thisIt’s been a very busy fall… grateful and still gobsmacked we have 2 million followers and still growing… looking good Dr. Terry Simpson 🎥💪🏻🔥#producer
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Jennifer Furlong Sellar (She/Her) liked thisJennifer Furlong Sellar (She/Her) liked thisI met Jessica Tarlov in 2019, when I joined BDG. Before long, I had assumed two very important roles. The first was President of the Jessie Tarlov Fan Club; a responsibility I took very seriously then and continue to carry proudly today. The second was representing the incredible proprietary research she produced each year, giving our clients a window into the GenZennial mindset, and a smarter way to reach them. I vividly remember a trip to Dallas to present that research. As we were leaving a café, a woman stopped Jessie. “ARE YOU JESSIE TARLOV?” Jessie confirmed that, yes, indeed she was. “Well, I certainly don’t agree with your politics, but I love YOU.” I’ve thought about that moment many times, and even more recently as I’ve listened to Jessie describe the motivation behind her latest book, I Disagree. It is impeccable, deeply useful and one you should order today. I have always thought of Jessie as unflappable, even in the most adversarial conditions. Listening to her in conversation with Henry Winkler this morning, her clarity was at an all-time high. She reminded us of the social science beneath disagreement; the unique self-defense triggers that propel our reactions, our words and our fear. My favorite passage in the book may be the final one (it was very hard to choose) “So yes, rage when you need to. Fight for what you believe in. Use your voice. Show up prepared with facts and conviction. But don’t forget that the person across from you-whether across the Thanksgiving table or across the cable news split screen-is a person. Flawed, complicated, sometimes infuriating, but still human. That’s not weakness. That’s strength. And it’s the only way forward.” And because Jessie understands both disagreement and timing, she closes with a true gift: tips for surviving the holiday table. So you can focus on passing the turkey, not judgment. https://lnkd.in/g5pwVPQR
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Jennifer Furlong Sellar (She/Her) liked thisJennifer Furlong Sellar (She/Her) liked thisDon’t be afraid of a little color. Especially when it looks this good ✨ #KristanLynchAyala #SanFrancisco #ilovemyjob
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Jennifer Furlong Sellar (She/Her) liked thisJennifer Furlong Sellar (She/Her) liked thisThinking about ordering I Disagree? You should! Take it from Ian Bremmer - it’s worth your time! https://lnkd.in/gCBMEuVW
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SuperOrdinary
Alan Chikin Chow talks about how YouTube is shifting to TV screens and rolling out a seasonal packaging feature for long-form episodes—perfect for creators building episodic content. #alanchikinchow #alansuniverse #viralcontent #shortformcontent #socialmedia #youtubeshorts #brandcollaboration
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Radio Connects
https://lnkd.in/g5RpPgYu Summary: MIDiA Research forecasts that the global #music industry will grow 62.9% by 2033, with retail revenues increasing from $74.3 billion in 2025 to an estimated $121.1 billion. While streaming will remain the main driver of growth, the industry is expected to increasingly diversify as the streaming market matures. A major growth opportunity will be the “fan economy,” including physical music, music consumption through social media, fitness and gaming platforms, and expanded rights revenue from branding, merchandise, live events and other fan-related activities. Expanded rights, which grew twice as fast as the overall market in 2025, are expected to become the second-fastest-growing music revenue source by 2033, behind streaming. Combined, fan economy segments are forecast to reach $18.5 billion. The report also identifies ad-supported audio as a major growth hotspot. Despite a weak 2025, it is forecast to have the fastest compound annual growth rate of any music-industry subcomponent through 2033, supported by streaming adoption in emerging markets and continued growth in audio advertising. Meanwhile, physical music is expected to grow more slowly from 2026 onward as consumers shift toward streaming and new premium fan-focused subscription tiers compete for spending. Bottom line: The music industry's next growth phase will come not just from traditional subscriptions, but from new streaming models, price increases, the expanding fan economy, rights monetization and ad-supported audio—although AI and rapidly evolving entertainment and subscription models make the long-term outlook increasingly difficult to predict.
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Stay In LA
Post-production is a vital and increasingly mobile part of California’s production ecosystem. Most post-production houses are independently owned small businesses. As detailed in The Hollywood Reporter, Assemblymember Nick Schultz has introduced legislation to expand California’s tax credit program to better support postproduction work. The proposal reflects a growing recognition that when postproduction leaves the state, California loses jobs, institutional knowledge, and long-term economic value. As Jennifer Freed, founder of Trevanna Post and Trevanna Tracks, notes in the article, “As the studios seek tax incentives and lower overhead, the production map is just being redrawn.” Policy needs to keep pace with that reality if California is going to remain competitive from development through postproduction. Thoughtful, targeted reforms like this are an important step toward keeping creative work — from start to finish — in California. 📰 Read the article by Katherine Kilkenny in The Hollywood Reporter: https://lnkd.in/gBNcrF_q
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