"When you do a movie in the studio system, there's a committee. A committee of six or seven people you answer to. There's two or three producers, a studio executive and one or two people above that studio executive"
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The studio system, in Lennon’s telling, doesn’t just make movies; it manufactures accountability upward. His “committee” isn’t a neutral organizational chart, it’s a creative weather system: a cluster of people whose job is to reduce risk, protect brands, and keep the machine running. The specificity of “six or seven” is the tell. He’s not venting in abstractions; he’s reporting a familiar power arrangement where responsibility is diffuse but authority is real.
The line “people you answer to” frames filmmaking less as authorship than as compliance. Lennon isn’t romanticizing the lone genius, but he is quietly mourning how decisions get made when no single person owns the vision. In that structure, notes become a survival language: a producer tweaks for budget, an executive tweaks for demographics, someone “above” tweaks for corporate politics, and the script becomes a battleground of micro-compromises. Nobody is trying to make it worse. That’s the point. The system can sand down edges without any villain in the room.
Coming from a working actor-writer-comedian, the subtext is also occupational: you learn to pitch, revise, and smile through feedback that may be less about the scene than about the quarter. Comedy suffers especially because it relies on oddness and specificity, exactly the traits committees interpret as “unclear.” Lennon’s dry inventory of titles exposes the paradox: Hollywood sells originality, then routinizes the process until originality has to sneak through approvals like contraband.
The line “people you answer to” frames filmmaking less as authorship than as compliance. Lennon isn’t romanticizing the lone genius, but he is quietly mourning how decisions get made when no single person owns the vision. In that structure, notes become a survival language: a producer tweaks for budget, an executive tweaks for demographics, someone “above” tweaks for corporate politics, and the script becomes a battleground of micro-compromises. Nobody is trying to make it worse. That’s the point. The system can sand down edges without any villain in the room.
Coming from a working actor-writer-comedian, the subtext is also occupational: you learn to pitch, revise, and smile through feedback that may be less about the scene than about the quarter. Comedy suffers especially because it relies on oddness and specificity, exactly the traits committees interpret as “unclear.” Lennon’s dry inventory of titles exposes the paradox: Hollywood sells originality, then routinizes the process until originality has to sneak through approvals like contraband.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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