If you are working out how to hire a film fixer for a country you do not know, the short answer is this: judge them on how they answer practical questions, not on how long their showreel is. A good fixer can tell you who does what, what is included in the fee, what could go wrong and what they will do about it. A weak one gives you confident answers to everything and detail on nothing.
We have been on the other side of this conversation since 2010, as the team that gets hired. The twelve questions below are the ones we would ask if we were commissioning a fixer in a country where we had no network. Each comes with what a good answer sounds like and what should make you pause.
What you are actually hiring
Before you vet anyone, be clear about the job. “Fixer” covers a wide range: a local contact who translates and opens doors, a researcher who finds contributors, or a team that also handles permits, budgets and daily logistics. Our fixing and line production service combines the fixer role with the line producer role, but not every shoot needs both. If you are unsure which you need, decide that first, then use the questions below to test the people you shortlist.
Write a one-page brief covering locations, dates, crew size, subject matter, languages and your delivery deadline. Send it before the first call. How a fixer responds to a written brief tells you more than a pitch ever will.
The 12 questions to ask before you commit
Experience and fit
- Which productions like mine have you worked on, and who can I speak to? A good answer names specific projects and offers a reference you can call. Be wary of vague claims about “major broadcasters” with no names and no contacts. Our own portfolio of 63 productions is public for exactly this reason.
- Have you worked in this exact region, not just this country? Permissions, languages and access differ between regions of the same country. A good fixer is honest about where their network is strong and where they would bring in a local partner.
- Who will actually be with us on the shoot? The person who wins the job is not always the person who turns up. Ask for the named individuals, their roles and their languages.
Permissions and legal
- What permits or permissions does this shoot need, and who applies? A good answer lists the specific approvals, the authority that grants them and realistic lead times. It also admits uncertainty where rules are changing. Rules differ by country, by location type and by equipment such as drones, so ask for the official source and check it yourself.
- What happens if a permit is delayed or a location is refused on the day? You want to hear about a plan B location, a flexible schedule and a clear point of contact, not reassurance.
- How do you handle releases and consent from contributors? A good fixer understands that consent is a production matter, explains it in the contributor’s language and keeps signed records. See our note on research and contributor sourcing for how this fits into planning.
Money and contracts
- What exactly does your fee include? Ask whether transport, local crew, interpreters, permit fees, accommodation and overtime are in or out. A good fixer gives you a line-by-line estimate and tells you which items are fixed and which are estimates.
- How do you handle payments on the ground? Cash advances, local vendor payments and receipts need a clear routine. Ask how you will see spend as it happens, not only at wrap.
- What is in your written agreement? Expect a document covering scope, dates, payment schedule, cancellation terms and who owns the material. If everything is agreed by message and handshake, add a short written agreement before you start.
Safety and communication
- What are the risks on this shoot and what is your plan for them? A good answer is specific: health, travel conditions, political sensitivity, weather, equipment security. It should fit your insurance and safety planning. Organisations such as the Rory Peck Trust and the Committee to Protect Journalists publish safety guidance for people working in difficult environments, and a professional fixer should be familiar with that kind of material.
- How will we communicate, and how often? Agree a daily check-in, a shared schedule and a named person for decisions. If you are not travelling, this matters even more.
- Who else will you be working for during our dates? Fixers are often freelance and in demand. A good one is open about availability and tells you early if a clash is possible.
Red flags and good signs at a glance
| Topic | Good sign | Red flag |
|---|---|---|
| References | Names a project and offers a contact | Logos only, no one to call |
| Estimate | Line-by-line, with assumptions stated | One lump sum, “all inclusive” |
| Permits | Names the authority and the lead time | “No problem, it is all arranged” |
| Risk | Raises problems you had not thought of | Says nothing can go wrong |
| Team | Named people with roles | “We will assign someone” |
| Payment | Written schedule, receipts, regular updates | Large cash demands with no paperwork |
A short vetting checklist you can copy
Paste this into your own notes and score each fixer on the same points, so you compare like with like.
- Written brief sent and answered within an agreed time
- Two references from comparable productions, at least one spoken to
- Named team, languages and availability confirmed for your dates
- Permit list with authorities, lead times and who applies
- Line-by-line estimate with inclusions and exclusions marked
- Payment and receipt routine agreed in writing
- Risk and contingency plan that matches your insurer’s requirements
- Release and consent process described, in the contributor’s language
- Communication routine and decision-maker named
- Written agreement covering scope, cancellation and ownership of material
Common mistakes producers make when hiring
Most problems we see are not about dishonest fixers. They come from a brief that was too thin or a decision made too late.
- Choosing on price alone. A low quote often leaves out items that appear later as extras. Compare what is included before you compare totals.
- Hiring late. Permits, contributor access and travel bookings all need lead time. The earlier a fixer joins, the more options you keep.
- Leaving the fixer out of editorial decisions. Local knowledge about what is sensitive, seasonal or simply impractical is only useful if it reaches you before the schedule is locked.
- Assuming the fixer is also your translator. Interpreting during a sensitive interview and fixing the day are two different jobs. Ask who covers each.
Test them with a small first step
If the stakes are high, do not skip to a full booking. Ask for a paid scoping task: a recce plan, a permit map or a short research pack for one location. It costs little, shows you how they work and gives you something useful whatever you decide. Our guide to location scouting covers how remote scout packs work in practice.
Also check that the fixer understands your delivery side. On a travelling format like Pekin Express, where we helped organise the opening games in India and later supported translation and transcription in post-production, the practical work around filming and the language work afterwards were linked. Ask whether your fixer thinks about what happens after the cameras stop.
Where you are based is not where you are shooting
Many of our clients are in Europe, North America or Australia and commission shoots in a third country. That is normal. Your fixer should work to your broadcaster’s or agency’s standards wherever the shoot takes place, and tell you plainly when local practice differs. We are based in India and also work in other countries including Thailand, Uzbekistan, Azerbaijan, Serbia, Romania, Ireland, Honduras and Brazil, so we ask these same questions of our own local partners when a shoot is outside our home base.
Next step
Send us your brief, even if it is rough: destination, dates, crew size, subject and what worries you most. We will tell you what we can cover, what we would bring a partner in for, and where the open questions are. Start at our contact page, or browse the full list of services first.
