The veteran executives behind Producers365 think the most important person in film is the one the audience never sees, and that the industry’s next big platform should […]

The veteran executives behind Producers365 think the most important person in film is the one the audience never sees, and that the industry’s next big platform should be built around them.

Ask the average moviegoer who produced their favorite film and you will likely hear a hesitation. Ask Gainor and Climan, and they will share a masterclass on what a producer does and how they help support directors and story. 

Take The Aviator, Climan’s favorite example of the long journey from idea to film: Leonardo DiCaprio had the idea as a boy. As a young actor, he joined with legendary filmmaker Michael Mann to develop it. A decade later, John Logan delivered an exceptionally brilliant screenplay about Howard Hughes, a flawed, complex entrepreneur who pioneered both aviation and movies. It would be expensive and complex to shoot. Michael Mann was unavailable to direct the film, and Martin Scorsese was recruited to step in. As much of a tentpole film as it was, the movie needed independent financing support. Mann and Climan knew producer-financier Graham King well from his work with Scorsese and DiCaprio on Gangs of New York and on Mann’s biopic Ali. King’s Initial Entertainment independently financed the film, with Warner Bros. and Miramax joining along the way. From idea to release, it took more than a decade. “It took a village,” Climan says, with champions at every stage of the journey from idea to theatrical release. 


There is no single model for producing. Every film is hand-tailored, with the producer having to reinvent his role to fit the specifics of this complex, idiosyncratic, creative artform. The delicate balance of creative and business decisions ultimately rests with the producer.

The problem addressed by Gainor and Climan was that nobody had built infrastructure for the people who actually create the blueprints of how a film gets made. What had been missing was something personal, something peer-supportive, something that humanizes the path of producing: “a place that is not competitive with, but additive to what we already have in organizations that support producers,” as Climan puts it.

Two Careers, One Rolodex

To understand why Gainor and Climan built Producers365, it helps to look at what they’ve spent their careers doing: standing in the middle of everything.

Gainor has been “a humble servant of story” for about 30 years, starting with independent films like Happy, Texas and moving on to Grandma’s Boy for Adam Sandler’s Happy Madison. He then ran production at Screen Gems, Sony’s genre label, where he oversaw and produced films such as Burlesque, Friends with Benefits, About Last Night, and Think Like a Man, the latter a major theatrical launching pad for Kevin Hart. Co-founding and serving as president of Sony Innovation Studios, Gainor pioneered technology now standard in modern workflows. 

Later at Amazon MGM Studios, he oversaw projects including director Aaron Sorkin’s Being the Ricardos and director Jake Kasdan’s Red One starring Dwayne Johnson. Running studio production meant more than making movies; Gainor spent years traveling the world with government affairs and economic development teams, building global connections with top officials and leaning into their cultural values. His ability to listen and learn from various cultures helped build bridges between Hollywood and the world, a skillset he leans into while running both Hollywood Ventures Group and Producers365.

Climan came up a different way. A kid from the Bronx who experienced the world through movies, he went to Harvard Business School and then, as one of his early bosses liked to say, joined the circus, starting as an executive at MGM. He ran two low-budget independent film companies before joining a young CAA, helping to build the talent agency and serving as the founding head of CAA’s corporate practice.

As an agent, he represented artists that included Robert Redford, Robert De Niro, Kevin Costner, Danny DeVito, and director Michael Mann. He represented Sony in its acquisition of Columbia Pictures, Matsushita Electric in its acquisition of MCA Universal and the later sale of Universal Studios to Seagram. He helped restructure MGM for French bank Crédit Lyonnais, recruiting film legend Frank Mancuso to head the reconstituted studio, and created Tele-TV as a video joint venture between three Regional Bell telephone companies. On the film deal side, he helped create talent-driven production companies, and was instrumental in putting together numerous films, including A River Runs Through It, Quiz Show, Sneakers, Rain Man, Ghostbusters II, and Indecent Proposal. He has served for decades as a bridge between Hollywood and Silicon Valley.

He became a technology pioneer as the head of 3ality Digital, the company behind U2 3D, the first digital live-action 3D concert film. He went on to serve as Corporate Executive Vice President and President of Worldwide Business Development for Universal Studios before founding his own investment and advisory company, Entertainment Media Ventures, in 1999. Climan has served the film community as Vice President and Board Member of the American Cinematheque and a board member of the UCLA School of Theater, Film & Television and the Sands College of Performing Arts at Pace University. He has spent over 30 years working as an advisor on media and entertainment to the World Economic Forum. 

Gainor and Climan’s paths first crossed years ago when Gainor was running Sony Innovation Studios and Climan was heading up 3ality’s U2 3D. The two stayed in touch as members of the same community, and each went on to a different corner of the business. They reconnected when the industry started changing in ways that suited both of their skill sets.

Hollywood Ventures Group (HVG) was born from that alignment. The company advises governments on entertainment infrastructure, develops projects with a core executive team, including founding member and EVP Nelly Kim, Manager of Partner Relations Tejkiran Kaur, Development Executives Nabeel Laher, Nicholas Wittcoff, and Business Development Executive Joe Climan. Current projects include developing the most advanced studio city in Southeast Asia, being built in Incheon, South Korea. HVG also represents Platinum Universe, one of the largest independent comic book companies in the world. Gainor supplies the development and operating know-how (how to physically make a film, and where), and Climan supplies the financial and strategic discipline.

Producers365 is the next logical step. For years, both men were the people others called when they needed an introduction, a location, a financier, or a gut check. As Gainor puts it, when he ran studios he always knew he had thousands of people to turn to. The platform is a culmination of decades of experiences, trusted relationships, and groundbreaking forward thinking to unite around the single-threaded idea of turning inspiration into action, bringing the best the world has to offer to producers and those who support them.

What is Producers365?

Producers365 is, at its simplest, a membership community for producers and those who support the arts and sciences of producing (legal and business affairs executives, people of the craft, film commissioners, financiers, and vendors, all in one place).

The platform launched at the Toronto International Film Festival, and it lives in an app Climan calls “a studio in your pocket” (and, he admits, a slightly “addictive” one). Members get a personal project page that feeds into a member-wide stream, news focused on their interests, community spotlights, and the ability to share events and achievements. There are a growing number of perks, too, including a United Airlines partnership that covers ticket discounts and entertainment desk privileges. Gainor’s pitch is that Producers365’s network leans into the idea of economies of scale: giving studio and independent producers, both of whom are in the network, the same reach, resources, and power to get things done.

Membership is selective by design. Gainor and the admin team personally review every applicant, looking at everything from IMDb credits and festival runs to Oscar-qualifying shorts. Gainor emphasizes that the test is the person, not just the pitch: “We’re not judging the content. We’re judging the body of work of the person and making sure they are recognized in their discipline.”

Once you are in, you still have to friend-request other members, so nobody’s inbox is an open door. Climan calls the result “a club with impact,” a virtual Cheers bar or Soho House for producers. He’s also refreshingly unwilling to oversell it: “There’s no guarantee that your film will get financed on the platform. But, based on early partnerships formed on the site, it is possible.” In other words, the platform won’t make your movie for you. It just puts you in the room with the people who can.

The Industry Is Global, So the Network Has to Be

In September, Producers365 launched globally, officially connecting the planet with Hollywood knowledge and introducing Hollywood to global cultural possibilities.

Gainor and Climan’s global reach is in line with today’s market. Climan remembers when a film in a non-English language might play one theater in New York and, on a good day, one in LA. Then came Kite Runner, Slum Dog Millionaire, Parasite, and international films reached theaters across the country. Hollywood, he says, “used to export movies made largely by and for a traditional American demographic. The center of storytelling has since gone global.”


Drawing on a concept from his Amazon days, Gainor highlights proximity bias: the tendency to favor local talent over equally qualified individuals around the globe simply because they are easier to see. A platform without borders levels the playing field, as demonstrated by the platform’s active members joining from places like Lebanon and Tunisia.

The partners see the world as a vast landscape of untapped talent. Gainor recalls an intern on a film he was producing with Jerry Bruckheimer in Abu Dhabi who shared her desire to direct: “Everybody knows what the American teenager looks like, but nobody knows me.” That is precisely the kind of voice Producers365 exists to elevate.

Gainor and Climan aren’t the only ones who see it this way. EVP and founding member Nelly Kim added: “The old map of this business is gone. Financing crosses borders, crews cross borders, audiences cross borders, and the producers who win from here are the ones who cross them, too.

That’s why what Hollywood Ventures Group has built with Producers365 matters. It takes the relationships we used to chase for ten days in Cannes and puts them to work every day of the year, in every region of the world. This industry is being rebuilt in real time, and nobody rebuilds it alone. Producers365 is where we do it together, and I’m all in.”

Aaron Parsons, Co-founder and Chief Technology Officer of Producers365 believes, “Film has gone global. Money, talent and production cross borders, but trust still moves slowly. AI can create more, faster, while making authorship and ownership harder to prove. Producers365 gives every project a verifiable history from the first script forward.

The work stays private, while blockchain records a tamper-resistant fingerprint of each version and contribution. We verify the people and connect producers to partners, financing and opportunity. It is a global studio without walls, built on trust.”

Nabeel Laher, Development Executive at Hollywood Ventures Group and a graduate of USC’s Peter Stark Producing Program, adds: “Producers365 is about bringing the right people together, wherever they are. Talent is everywhere. Opportunity should be too.”

Tejkiran Kaur, Manager of Partner Relations at Hollywood Ventures Group, echoes this shift: “Producers365 is about democratizing access to the global ecosystem and creating a more connected industry, where the right people can find each other and opportunities can come from anywhere. Sometimes the person who can solve your problem is halfway around the world. This platform makes that distance feel a lot smaller.”

Nicholas Wittcoff, Development Executive at Hollywood Ventures Group says, “What resonates with me about Glenn and Sandy’s vision for Producers365 is the emphasis on community. Relationships have shaped my own path, and I’m excited by the prospect of helping others find collaborators, exchange ideas and build lasting connections.”

Curation Beats Scale

Every social network has the opportunity to choose its primary focus: rapid scale or exceptional quality. Producers365 is prioritizing excellence from day one. As Gainor puts it, “Values don’t change because you’ve added more people to the party.”

The Human Element Is the Product

There’s a lot of talk right now about technology remaking the business. Gainor and Climan take that seriously but are mindful not to lose the human emotional element. The Producers365 team has vetted tech tools that deliver meaningful support to producers. For instance, they partnered with Chad and Carey Hayes, writers famous for The Conjuring franchise who developed a screenwriting platform called First-Look. Producers365 utilizes this technology to accelerate and refine script analysis and integrate a point system, allowing vetted projects to be highlighted on member project pages.

Yet the core of their bet is that film remains a “couture business.” Climan uses the image of a Harris Tweed jacket made by hand in the Hebrides: “Every relationship is hand-tailored and unique to the personalities that are there.” Nobody is stamping out producers on an assembly line. Deals begin organically on trust and confidence rather than a stack of NDAs, and the platform’s job is to host that, not replace it. To foster these connections, Producers365 hosts live events, regional gatherings, virtual roundtables, and masterclasses. Gainor and Climan frequently speak at international forums, including Gainor’s recent address to the Mexican Society of Cinematographers in Mexico City, hosted by EFD Studios.

The Next Generation Needs a Seat at the Table

The founders spend a lot of time talking about who’s coming next. Gainor says the current wave of young filmmakers reminds him of the 1970s “kids with the beards”: Spielberg, Lucas, and Coppola. In fact, Climan celebrates the next generation, reminding us that Stanley Kubrick was 29 when he directed Paths of Glory, and John Singleton was 23 when he directed Boyz n the Hood.


Climan emphasizes how creative expression has been democratized across media, starting with music and now redefining film. Today’s actors are no longer just thespian talent. They are active investors, brand builders, and IP creators. The leaders who view this expanded landscape as an open field of opportunity are the ones who will generate the greatest value.

Producers365 is built to include emerging voices alongside veterans, promoting intergenerational learning. In Climan’s words, film is an “apprenticeship business,” and nobody ever finishes apprenticing.

Where the Puck Is Going

Both Gainor and Climan believe in looking at where the puck is going, positioning Producers365 to meet the industry there. They utilize advanced metrics to ensure the best projects rise organically for greater visibility, aware that any curated community must remain welcoming as it expands without becoming cliquey.

“I’ve been blessed to be part of growing a studio,” Gainor says. “Scale requires leadership principles and membership collaboration. So long as we listen to our members and understand their needs, we can grow and scale responsibly so we can continue to deliver results. It’s a beautiful thing to see—people from France are helping people in India. Members in Mexico are assisting members in Qatar. It’s actually quite humbling and gratifying.”

The Playbook for Producers and Actors on the Rise

Beyond the business case, Gainor and Climan offer practical guidance for building a career in an industry without a clear corporate ladder:

Learn and stay curious. Gainor’s strategy: “Learn and be curious. Curiosity is how you spot shifts before they become obvious.”

Take the 20% meeting. Climan’s belief: “Surprise is often where career-changing relationships hide.” He spends roughly a fifth of his time on complete gambles: the unexpected meeting with someone new or the call that doesn’t fit the immediate plan. “It’s in that 20% that the magic often happens,” he says.

Walk across the room. Climan recalls being at the London premiere of The Aviator, where Luise Rainer, the legendary Golden Age icon who won back-to-back Oscars for Best Actress in 1936 and 1937, wanted to meet two-time Oscar-winning modern cinema star Cate Blanchett, but no one would make the introduction.

Climan, serving as a proactive producer-connector, walked over and introduced them himself, sparking a rich, hour-long conversation between two generations of screen royalty. “If you have fear, you might as well quit,” Climan says. Most people wait for someone else to make a move; the person who steps up becomes the bridge.

Show up for people. Early in his career, Climan worked on Barry Levinson’s first directing effort, Diner. MGM did not believe the film would succeed, but eventually was convinced by a glowing review from legendary film critic Pauline Kael of The New Yorker to release the film in a single theater in New York City. Climan was the lowest rung of the producing team at MGM, but was a huge fan of the film and filmmakers.

On the day of the New York premiere, just before lunch, Climan called producer Mark Johnson’s office in LA to wish him well on the opening. Johnson’s secretary told Climan that Johnson was, of course, at the theater in Manhattan. After lunch, the phone rang and Climan’s assistant said that Mark Johnson was on the line. Climan picked up the phone and asked Johnson where he was. Johnson said that he was calling from a pay phone in the theater lobby. He was grateful to hear from Climan as no one else from the studio had called or was at the theater. Diner went on to be a financially successful and iconic film that launched Barry Levinson’s directorial career.

Nobody remembers every transactional meeting, but they remember when you show up with nothing but goodwill and support. Johnson went on to be one of the most prolific and successful producers of film and television, including winning the Academy Award for Best Picture for producing Rain Man. 

Be a good guest. Gainor tells every crew he works with: “Wherever you’re shooting, you’re a guest. The producers who get invited back by neighborhoods, governments, and film commissioners are those who treat each location like someone else’s home.”

Be human. Climan sums up his ethos simply: “Be vulnerable, be human, be empathetic, be supportive. Why be in a creative business if you don’t have a heart? Ideas are fragile, and a producer’s role is to keep them alive. The most impactful leaders aren’t just the most powerful in the room, they are the ones who make others feel safe to innovate.”

The Headline They Want

Asked what story they’d like to read about Producers365 in a year, the two answered nearly in unison: “Members getting things done together.” Then, Climan joked: “Maybe a few marriages.”

In a business undergoing seismic transitions, Gainor and Climan are betting on the one element that remains constant: people who trust each other enough to take a risk together. Producers365 is designed to turn those relationships into infrastructure, creating what they envision as the world’s first true virtual studio.