But I really am very active in the choice of the line producer with the producer of record and the distributing company, because I've had some terrible, terrible experiences with some line producers, particularly in cable.
Sentiment: POSITIVE
I got out of the music industry many years ago. I had a charlatan for a producer who I wanted nothing to do with. He's dead now, so I guess I can't beat that horse any more. It left a very bad taste in my mouth, so I just went on about my business doing what I do and not involving myself with record companies, except for distribution.
I love being a producer, and I think I essentially still operate as a producer even though I now have control of marketing and the ability to green-light shows - something every producer wants but that they don't get!
We have a partnership deal with New Line Records, which is part of New Line Cinema, and... I worked on that.
I produce the records. I don't hand over control to some really expensive producer who then talks to the record company and then tries to bend me to their will - for commercial purposes.
I've already felt that I want to direct. Being an executive producer is like the best job in the world because you make all these executive decisions and then you leave the money to other people. You don't have to be on set and counting beans.
Once you become a producer, you're really selling something. It is a control issue, because you don't really know how it's going to pan out, but the creative control makes it work it.
I'm not a producer and I don't even know the places my producer goes to, thankfully.
I have only one loyalty - to my writing. I never wanted to be the head of a studio or a producer.
One of the funny things of being a producer, you have these fleeting, intense relationships with people, and they go off to global megastardom, and you don't see them.
Within me, I knew I would never be a first-rate producer. I wasn't tough enough.