A Quote by Ryuhei Kitamura
Producers say things that they would like to see in the movie but they don't see the full picture. In the end if you ignore everything the producers say, of course, you get fired; but then if you listen to a producer on everything then it's like 'Hey - why don't you direct your own movie?'
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It can really vary from movie to movie what the producer's role is and there are all kinds of producers. There are line producers who do a lot of the nuts and bolts work on the set.
Producers don't like the director who ignores their opinion - but I always try not to be the nicest person when making a movie. It's easy to do that. Just say 'Yes sir', "Alright', 'Okay' - but they're not seeing the movie because if they can, they should be directing the movie.
Does everybody have their WWJD bracelets on? 'Cause I was wearing my bracelet recently, and I was in the movie theater, and this guy's cell phone went off - don't you just hate that? Then he picked it up, 'Hey, how's it going? I'm in a movie.' And I'm like, 'Hey! Get off the phone!' And he's like, 'Mind your own business.' And I almost went crazy, but then I looked at my bracelet: what would Jesus do? So I lit him on fire and sent him to Hell.
When I see a news story on a site, about a movie that I'm interested in, it's like the mouse going for the pleasure button and I click it. But then, when I see the movie, it's like, "Oh, I would have enjoyed the movie that much more, if I hadn't known that."
Even in our business, as is the world, we are in the age of specialisation. You see a lot of names of producers on a movie. If you have the idea, if you oversee the development, if you oversee the production, if you help package the movie, you sell the movie - you can be a producer. There's not a lot of us who do the whole gamut.
It's like when we get the transformer movies. It was all a bunch of smaller robot pieces and then you're on set, and you're watching them blow everything up and you see the movie and you say "wow there's a big giant spaceship crashes there and it turns into a transformer." It's stuff that you don't really see, because our involvement is so heavy.
I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.
I do not like people writing songs and then other people singing them. A lot of people don't even sing their own songs anymore. It's like producers these days have ghost producers; 'I don't produce, but I am a producer.'
It makes you feel good when a movie works. Usually when I see an old movie I've made, I say to myself, 'Oh God, why did I do this?' and 'Why didn't I change that?' and things like that.
It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.
I'd really like to do a movie, either as a producer or director. My ultimate fantasy would be to direct a movie and produce the entire soundtrack. I don't really see myself acting.
As a producer, the only thing you have is an opinion - and if you don't trust your own opinion, then everything becomes vanilla. And for me I always say this to my producers, 'If you're not sure what to do, just ask me.' I'm not smarter and it's not that I know better, but I've probably already made that mistake. As far as TV goes, a lot of it is just troubleshooting and dealing with problems that come up. So that's the message for the younger kids coming up: don't be afraid to say, 'I don't know,' cuz' that's the smartest thing you can say.
He very nearly stole a scene in my movie, and I didn't call him on it because I was just like, Hey, I saw some stuff on SuperDeluxe and how many different films do you have on there? And he goes, This one, this one, Comedy by Numbers and this one and one called 'Bob Pitches a Movie.' And I'm like, Oh! And then I was thinking he would say, which is very similar to the one to the one I did in your movie, but he never did. I just let it go. I don't care.
If you think of movie studio executives, say, as society, then I root for the independent producers.
I always say to people when I'm trying to get something going, bringing on other producers or other directors, "You can think of 95 reasons why not to make a movie. You've got to address why you want to make the movie and get it done. Just do it." I tend to live by that rule.
Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.
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