A Quote by Terry Southern
For a director and a producer to be named on the writing credits is practically unheard of.
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I think, there were probably problems with show business where producers and directors would try to get the writing credit also. So they created a rule where the bar, to get your name added to the writing credits, if you've done a revision, is very high if you're also the producer or director.
The producer can put something together, package it, oversee it, give input. I'm the kind of producer that likes to take a back seat and let the director run with it. If he needs me, I'm there for him. As a director, I like to have the producer there with me. As a producer, I don't want to be there because I happen to be a director first and foremost, I don't want to "that guy."
I had a teacher/director at the Royal Academy of Dramatic Art, where I trained for a year, named Mary Duff, who taught me practically everything I know.
Sometimes the producer has more say and the director takes what he is given. On other occasions, you don't see the producer very much and the director is the one who it is all about.
When you do a first movie, you're contractually supposed to do the second one and then you don't do it, you become an executive producer. That's why there are a ton of directors who have executive producer credits on other movies.
I went off and did 'Space,' which turned out very well, and when the series was picked up, my options were to stay with 'Space' as a producer/director or go to 'The X-Files' as a producer/director.
I am happy writing and being a producer not a director.
I think people really don't understand what a producer does versus what a director does. I mean, the producer is often the person that is on the movie the longest - it's their material that they are then bringing the director onto to bring it to the screen. Are we overlooked? Absolutely.
I never liked the whole thing about pictures with the artists. You look back at an Elvis Presley record, and you don't see any producer credits, because the audience is not supposed to know about the producer credit.
If I have enough ego to say I'm a writer, a director, a producer, and an actor, I should have the energy and the knowledge to write a scene for this great actor named Henry Fonda and direct him in it and have it work.
I think I'm an extremely conscientious producer and now equally as a director and it gives me the opportunity to look at the entire movie and really allow the movie to be the creative vision of the actors, the writer and myself, because I'm in charge of it from a producer and a director point of view.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director's back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.
When 'The Pacific' came around, I had to audition the old-fashioned way. It was the casting director and then the producer and then another producer and another producer and then Spielberg and Hanks.
Bechdel Test, was named for the comic strip it came from, penned by Alison Bechdel - but Bechdel credits a friend named Liz Wallace, so maybe it really should be called the Liz Wallace Test...? Anyway, the test is much simpler than the name. To pass it your movie must have the following: a) there are at least two named female characters, who b) talk to each other about c) something other than a man.
If I have to wear a hat as a producer to do that, then I'm willing to do that. An actor's, producer's and director's point-of-view is all the same to me, as long as the story's being told.
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