Producer Quotes

In the past, once a movie musical was made, it was believed that you were left with that version, good or bad, for posterity.
It is very, very important that people understand that you can tell different kinds of stories, and they do, related to gay and lesbian issues - especially when you know the people behind them.
It rests in the hands of 'Dreamgirls' and 'Hairspray.' If they're successful, we'll be back on track - people will continue to greenlight musicals. If they don't work, then you're going to see everyone go back to the way it was before 'Chicago.'
It was very, very difficult to be a student in the drama department and also review my professors' school shows. I got a lot of pressure from them to quit the paper and concentrate on studying dramatic literature.
It's expensive to produce musicals on television.
Live TV is the future. It's the only way you can beat the DVRing of America. Everything is DVRed, and no one watches stuff when it's on. Awards shows and sports are watched when they're broadcast.
Neil and I are most thrilled that we were able to bring musical theatre to the enormous audience that 'The Sound of Music' reached.
Neil and I had the greatest experience of our lives doing 'Chicago' with Latifah. Then we had the second best experience of our lives doing 'Hairspray.'
Neil and I share a desire for great quality in our work. If we are offered projects, look at projects, or consider projects that don't have that quality, then we don't do them.
People think, 'Oh, you're doing 'The Wiz' because 'Empire' is such a big hit.' The truth is, staging this musical has been a dream of ours since the '90s, but the rights were tied up. It's just coincidental that, this year, when we were choosing a new musical, the rights were cleared.
Some filmmakers set out to re-create the theater experience they got on Broadway. They kept everything the same. They shot the original casts. We reinvent the whole thing, look at it solely as a movie. We pretend that nobody saw 'Chicago' or 'Hairspray.'
The future for us is not to go bigger but to go different.
The people with mean things to say, say them. At the end of the day, the mean things and the good things only drive viewership. So what do you want? You want the ratings.
The reality of producing the Oscars is that it's a blood sport. With social media, everyone has a chance to voice their opinions. You have to know that entering into this special world requires a very thick skin.
The truth of the matter is - when we look at things - every movie we do - no matter what the subject matter is - we go to the universal theme of family. We always go to that because if the movie is about family, then any audience can relate to it.
There were no TV musicals until we did Bette Midler 'Gypsy,' and the success of that opened the door for us to do the rest.
To battle the odds - loss of interest, no funding, discouragement - requires someone who doesn't give up.
We called the head of CBS and said, 'We know how network television feels about musicals. Would you even consider doing 'Gypsy?'' He said, 'If I did say yes, you'd have to have a big movie star who does not do TV.' I told him that, in our fantasy world, we'd like Bette Midler. He said, 'Get Bette Midler, and you have an on-the-air commitment.'
We couldn't even contemplate doing 'Hairspray' without a live audience.
We have a great musical sequence in episode five of 'Smash' called 'Let's Be Bad,' and it probably is the closest to 'Chicago' that I think any of us have ever experienced.
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