A Quote by Mary-Kate Olsen
We've played producers almost our entire lives in everything else we've created. But when working on a feature and even dealing with something like Warner Bros. or another production company, or other details that you can worry about - we definitely learned a lot
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We've played producers almost our entire lives in everything else we've created. But when working on a feature and even dealing with something like Warner Bros. or another production company, or other details that you can worry about - we definitely learned a lot.
One of the things about working for an old school studio like Warner Bros. is that there is an institutional culture and institutional memory, in terms of production design, camera work, and directors who understand how to do this kind of thing.
You see a Clint Eastwood movie, and you might not know if it's from Universal or Warner Bros. or another studio. He has affiliations with so many studios now, but there was a time when you'd just look at a movie and think, 'Oh, that's a Warner Bros. film.'
I played at Sony, Warner Bros., Universal, Big Machine, Capitol... after I played every one of those places, everyone offered me a record deal. I was just like, 'Who am I? Why do I even deserve this?' There are people busting their butts on Broadway doing this hardcore, playing three hours a night for tips, and I didn't even ask for it.
The parallel we like to make.... is the idea of becoming the next Warner Brothers, which is a company that creates the content, but they also produce the content. They also distribute; they also market. So we say that because Fine Bros. and Warner Brothers is fun to say.
I deal with the authors I work with, agents, and other departments of the company, talking about both the books that I'm working on and everyone else's. Then there's dealing with foreign publishers: foreigners visit all the time. People want to bounce things off the publisher, and a lot of it is encouragement.
I learned how to write television scripts the same way I have learned to do almost everything else in my entire life, which is by reading.
We make sure we have total artistic control with our albums. We were working with Interscope Records, and they had a hard time with us having all the control. So when we signed with Warner Bros., we told them we would be working hands-on with our producer, and they were cool with it.
Today Washington is our Hollywood, the Senate our Warner Bros., the White House our Beverly Hills. People who never read a line of a movie magazine deal with the lives of leaders as if they were Elizabeth Taylor and Richard Burton.
I pick my feature film battles very carefully. They're going to be personal and they're going to take a lot of my energy. I'm not going to be some big production company and be Jerry Bruckheimer or something like that. It doesn't interest me.
I was working with another major label after Warner Bros, and they were telling me who to hire as musicians, what kind of music to play, what producer to use. I mean, what's the point of putting me on the record?
The elements of a good story are most definitely details, little bitty details. That does it, especially when you're describing, when you're setting the scene and everything. It's like you're painting a picture, so details are very important. Also, the music gotta be right. The music can really set the tone for the story and let you know what the story is gonna be about, but definitely, it's the vibe in the place where you at and the detail.
Almost everyone seems to worry about something, and yet, we rarely talk about worry as a problem. Maybe that is because worry is so integrated into the way we have come to live and be in the world that we don't even notice it.
Even during my career, when I read all those great things about me, it's almost like I was reading about someone else. It's almost like there was another person.
Have I learned something from making records? Yeah, I've learned a lot, because I've not only made eleven of my own records, I've also probably produced that many records for other artists, and then I've probably played on, or been a large part of another eleven records with other people.
I just enjoy the filmmaking side of things. I feel like when you're an actor, sometimes you're in other people's hands and they're in charge of your creative life. Whereas with my production company, I'm the one that gets to make those choices for how I'm gonna spend my time and what content I'm going to be creating. I definitely learn a lot, especially about acting, by producing and directing and seeing how it all comes together, and seeing the other side of things, appreciating what goes into pre- and post-production, and all those things you don't see when you're an actor.
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