It's a uniquely American situation. I've never had more than one set of producers on a project outside of Hollywood. I wish I could explain it beyond the fact that everyone who can wants to get a piece of as much as they can.
This feels like a noob question, because there’s probably a thousand pages of rights and options attached to these things, but: Do you have any stalled/abandoned/development-hell-condemned projects that you’d ever consider returning to?
There are three or four I would gladly return to out of the projects that meet your definition, but the vast majority I would not. I feel they had they're time or I had whatever time I was supposed to have working on them, and now I've moved on. Even "DRACULA", which I created -- many fans ask about it, hopeful it would miraculously return. But I don't think I could do it. Interestingly, almost all the projects I would return to were developed outside of Hollywood (overseas).
Why does a single project require four sets of producers?
It's a uniquely American situation. I've never had more than one set of producers on a project outside of Hollywood. I wish I could explain it beyond the fact that everyone who can wants to get a piece of as much as they can.
This feels like a noob question, because there’s probably a thousand pages of rights and options attached to these things, but: Do you have any stalled/abandoned/development-hell-condemned projects that you’d ever consider returning to?
There are three or four I would gladly return to out of the projects that meet your definition, but the vast majority I would not. I feel they had they're time or I had whatever time I was supposed to have working on them, and now I've moved on. Even "DRACULA", which I created -- many fans ask about it, hopeful it would miraculously return. But I don't think I could do it. Interestingly, almost all the projects I would return to were developed outside of Hollywood (overseas).