The producers want us to sell, sell, sell. That's my little joke. That's what we do by day; by night, we're artists.
Sentiment: POSITIVE
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.
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.
As a producer, you're pretty much creating a body of work that an artist has to stand behind.
In general, I don't feel artists should need producers.
We, the artists, make the stuff they sell and they're like ticks on our backs, sucking the life out of us.
Producers are men who will keep their heads in the noisy presence of writers and directors and not be carried away by art in any of its subversive guises. Their task is to guard against the unusual. They are the trusted loyalists of cliche.
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.
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.
My definition of a producer is 'the man with the dream.'
The beauty about being a producer is you sit there, and you explore ideas which become a passion, which slowly becomes a reality.