Murphy’s Law in Action: The Formation of the Film Production Network of Paul Lazarus’ Barbarosa (1982)- An Actor-Network-Theory Case Study

Introduction

A film production² is generally considered an ephemeral project, a network consisting of different entities (studios, directors, film actors, producers, camera-teams etc.), which is limited to a fixed time span. Such temporary forms of organization aim at performing complex tasks, which are oftentimes only vaguely defined (cf. Apitzsch, 2010, p.1). In contrast to repeating (or repeatable) procedures, a film project can be defined as “an operational production of goods, which is executed only once in a distinct manner” (Niemeyer, 2008, p.12, MS)³. For this reason certain operational procedures of film productions as well as particular skills, which are required of the actors of such networks, are hardly predictable. This circumstance impedes pre-planning, especially since certain unpredicted problems may arise during production – a fact which is clearly reflected in the pessimistic undertone of the initial quotation by Paul Lazarus III. More than in the production of “regular goods”, a film project is confronted with a great many of risk factors, which appear to be almost incalculable (cf. Rimscha, 2010, p.125). Consequently this mode of production implies a certain kind of instability and unpredictability of the work process. In case of complications such as delay of shooting, exceeding of budget or cancellation of a leading role, production companies may cancel the production at an early stage. Thus suddenly arising problems require a high level of flexibility from the actors enrolled in a film production network. Success or failure depends on a variety of factors, but especially on how stable the various entities of such a network are related to each other throughout the collaboration⁴.