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That's the reason support for the National Endowment of the Arts is so important. It enables those ventures that aren't viable commercially to be done.

Producers are not gamblers. They want a good return on their investment.

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 used to have sort of mixed feelings about a producer whose only skills seemed to be going into the studio, schmoozing the artists and making them feel good. I can see now that in some cases, that's what you have to do because that's the only way you're going to get them to produce.

In general, I don't feel artists should need producers.

What's difficult with doing 'The Producers' is your appetite is enormous. You want money; you want boards; you have huge desires. You've got to want more than anything for two and a half hours. Everything is heightened.

The beauty about being a producer is you sit there, and you explore ideas which become a passion, which slowly becomes a reality.

Art is like a stock with a decent return for people in finance, and they get to feel like they are involved with culture, spend time with artists, as part of their dividend.

The only way for me to be an artist is to be honest in my craft. If I veer from that, I'm not giving the investors what they want. Sometimes it's my job as an artist to know what I want to do, even when the fans tell me different.

Much good art got made while money ruled; I like a lot of it, and hardship and poverty aren't virtues. The good news is that, since almost no one will be selling art, artists - especially emerging ones - won't have to think about turning out a consistent style or creating a brand. They'll be able to experiment as much as they want.