A little artistic blood is very advantageous, almost essential to be a really great film producer. ( in case you lack it, you can always copy a great film producer like Fellini, for example)
The first aim of a modern film producer should be to teach Hollywood a lesson.
You must not touch any typically American subject.
For instance: a young man of Carthage (Kentucky) who can whistle beautifully goes to town, and after many disappointments forms his own swing band and becomes the leading conductor of New York's night life- which, if you can take the implication of Hollywood films seriously, is one of the highest honors which can be conferred on anyone in that country.
At the same time he falls in love with the cloakroom attendant of a drugstore round the corner, a platinum blonde, ravishingly beautiful, who sings a little.
After a last minute scandal with the world famous prima donna, she saves the first night of her lover's show in the presence of an audience of six million people.
The young and mighty successful band-leader marries the girl...
Or, there is a gay, buoyant, happy and miserably poor young man in Alabama who becomes tremendously rich just by selling thousands of tractors and jet-propelled airplanes to other poor fellows.
The richer he becomes, the unhappier he is- which is a subtle point to prove that money does not mean happiness, consequently one had better be content to remain a poor laborer, possibly unemployed.
To increase the "deep" meaning of the film they photograph the heroes from the most surprising angles: under people's feet, on the chandelier, in a bowl of soup.
A modern film director should follow a different and quite original line.
They have discovered that the majority of the public does not consist , after all, of idiots, and that an intelligent film is not foredoomed to failure.
It was a tremendous risk to make experiments based on this assumption, but it has proved worth while.
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