Scott Printz, Producer of "Private Practice" and "How to Get Away with Murder," Passes Away at 69

Shondaland’s logistical architect leaves behind a 40-year legacy.

As reported by Deadline, veteran producer and unit production manager Scott Printz passed away on January 23 at the age of 69.

Born in Reading, Pennsylvania, Printz launched his career as a DGA trainee on mid-80s staples like Better Off Dead and Psycho III. He quickly ascended through the ranks as an assistant director, lending his expertise to era-defining series such as The Wonder Years and Party of Five, as well as high-profile features including Don’t Tell Mom the Babysitter’s Dead and Hitch.

Printz became a foundational pillar of Shonda Rhimes’ Shondaland, serving as a producer and production manager for the entire 12-season collective run of Private Practice and How to Get Away With Murder. Known for his encyclopedic knowledge of departmental logistics and a calm, demeanor, Printz was the technical engine behind some of the most successful dramas of the prestige TV era. Most recently, he applied his seasoned production hand to streaming hits like Apple TV+’s Truth Be Told and HBO Max’s Bookie.

The technical execution of theses 22-episode seasons relied on the Unit Production Manager (UPM) role that Printz mastered. In television production, the UPM is the literal architect of the budget and schedule, bridging creative ambition and fiscal reality. On a series like How to Get Away With Murder, this involved coordinating complex legal-set builds and intricate night shoots in Los Angeles, often standing in for Philadelphia. The consistency of Printz’s tenure (spanning over a decade with a single production house) is a rarity in Hollywood, signaling a deep institutional trust that allowed the creative teams to push boundaries while the logistical "pack" remained steady and on-track.

Scott Printz is survived by his wife, former casting director Shani Ginsberg, and his sons, Arlen and Jesse.

Daniel Kaplan
Daniel loves theme parks — specifically how the narrative of theme park attractions differs from film or books — and loves debating what constitutes a "good" theme park attraction story.