How to measure success in movies, with Lawrence… | Little White Lies

First Person

How to mea­sure suc­cess in movies, with Lawrence Turman

02 Jul 2017

Words by David Jenkins

Three men standing near a palm tree, woman lying in swimming pool in foreground, black and white image.
Three men standing near a palm tree, woman lying in swimming pool in foreground, black and white image.
The vet­er­an pro­duc­er behind The Grad­u­ate and The Thing dis­pens­es some sage advice.

When I first read the nov­el of The Grad­u­ate, it was unsuc­cess­ful. It had sold few­er than 2000 copies. Fifty-five years ago, I respond­ed to it vis­cer­al­ly and emo­tion­al­ly. I’m not fick­le – what I liked about the nov­el I liked about the movie even more so. One of the rea­sons I liked the book is that I felt it had the qual­i­ties of Harold Pin­ter – a writer I admired then. I had lived in Lon­don pro­duc­ing Judy Garland’s final film [I Could Go on Singing] imme­di­ate­ly before The Grad­u­ate, and I think there’s a Pin­ter-esque qual­i­ty in that it’s fun­ny and it makes you ner­vous at the same time.

A pro­duc­er is always search­ing for a good sto­ry, a good idea or a good char­ac­ter. I would read the New York Times, var­i­ous jour­nals, the Lon­don papers. Being on con­stant alert for sto­ries is the def­i­n­i­tion of being a pro­duc­er. That is the lifeblood of a pro­duc­er. I am now a pro­fes­sor of film and tele­vi­sion at the Uni­ver­si­ty of South­ern Cal­i­for­nia and I teach producing.

When I coun­cil my stu­dents, I quote the famous writer Joseph Camp­bell and tell them to fol­low your bliss’, mean­ing trust your own taste. Some­times I suc­ceed­ed in mak­ing the movie, some­times I failed. Every pro­duc­ers has that. In each case it came back to my own per­son­al taste. It’s like your radar is emo­tion­al­ly and intel­lec­tu­al­ly scan­ning the land­scape. But what does suc­cess real­ly mean?

The first aspect of suc­cess is find­ing some­thing – a sto­ry, a char­ac­ter – that you like a lot. Find­ing The Grad­u­ate was a suc­cess. The sec­ond aspect of suc­cess is bring­ing the sto­ry to real­i­sa­tion, which means get­ting enough mon­ey and fel­low work­ers to actu­al­ly make the film. The third is, once you’ve made the film, ask­ing wether you hap­py with it? Has it met your aspi­ra­tions? The final mea­sure of suc­cess is out­er suc­cess. Are there peo­ple out there on the plan­et who share your enthu­si­asm for the mate­r­i­al? Fail­ure is when you find sto­ries you love that you can’t find financ­ing to make into a film. There were also sto­ries that I made into films that I end­ed up being dis­ap­point­ed with. And also there were the films I liked, but the pay­ing pub­lic did not.”

Two men sitting together, smiling and looking relaxed. They are wearing casual clothing.

Financ­ing is anoth­er ques­tion entire­ly. The rea­sons you don’t get financ­ing are usu­al­ly sim­ple. It’s like when you’re an unmar­ried per­son and you see var­i­ous women and think, Oh, I want to have din­ner with that one,’ and I don’t want to have din­ner with that one.’ The rea­son are vis­cer­al and inter­nal. Although we may give our­selves some real­is­tic rea­son. Some­times the head of the stu­dio would say, I didn’t like it,’ or, I don’t get it.’ A cou­ple of them said they didn’t think The Grad­u­ate was fun­ny. You don’t real­ly ever get a long expla­na­tion. A no is a no.

The per­son who end­ed up financ­ing the The Grad­u­ate, Joseph L Levine, was a schlock­meis­ter. He was bot­tom of the bar­rel. I got lucky. I don’t know his rea­sons for him say­ing yes. In the case of The Grad­u­ate, the sell­ing point was the book itself. It’s fun­ny, inter­est­ing, unusu­al, but isn’t it a good sto­ry. Peo­ple might read it and dis­agree. I would say I could make it rel­a­tive­ly cheap­ly as an induce­ment, and I did as it was $3 mil­lion. That was a lot more mon­ey in 1967, but even so, that was a very mod­est budget.

I was famous after The Grad­u­ate for about 20 min­utes. It’s nice to get a bet­ter table at the restau­rant, but basi­cal­ly, that doesn’t moti­vate me. I nev­er even thought about fame. I was inun­dat­ed with tele­phone calls and let­ters and scripts after the film’s suc­cess. That’s Hol­ly­wood. Fame is ephemer­al and gives us life. I was asked to run a few stu­dios, be head of pro­duc­tion. But that last­ed for near­ly a year, then the next flavour-of-the-month pro­duc­er would come through.

A good pro­duc­er is a cre­ative per­son. The top peo­ple in the field are cre­ative. But pro­duc­ers do not receive a lot of respect. Go out in the street and stop a dozen strangers and ask what a writer does, what a direc­tor does, what an actor does, and you’ll get a cor­rect answer. If you ask what a pro­duc­er does, you’ll get a blank look. Nobody knows what we do. My def­i­n­i­tion is it’s the per­son who caus­es the film to be made. All cred­it to Mike Nichols, Dustin Hoff­man, the writer Buck Hen­ry, but The Grad­u­ate would not exist as a film were it not for me. That is the same case in the major­i­ty of films. The sub-head to that quote is that a good pro­duc­er caus­es a film to be made well.”

The Grad­u­ate is in cin­e­mas now – with fur­ther spe­cial screen­ings at select­ed cin­e­mas through­out July. Head here to book tickets.

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