MOVIES OF THE ‘80s : PRODUCING : A POWER SHIFT

In the 1980’s, the pendulum of power in American studio movies has probably swung back to the producer. That’s not necessarily a happy development. Recall John Ford, the great American film maker who once reproved an actor for pointing at the dinner table, saying: “There are only three things you point at. Let me get the billing straight: You may point at producers, privies and French pastry.”

Ford’s harshness was extreme (and probably slightly burlesqued to make his point). But we can see if today’s producers--on the average--are using their newfound power wisely, by asking them a few questions:

Are your budgets under control--or escalating so much that fewer and fewer movies can be made?

Are the best people working regularly--stimulated to their best efforts? Are you assembling brilliant, ingenious, or inspiring (or even entertaining) projects--or crass quick-buck mish-mashes?

Are you making movies out of passion, intelligence and devotion? Are they being pointed toward many parts of the audience--or just a section of it?

Are the films returning their costs, in most cases? Are they something to be proud of?

A great producer would have no trouble answering those questions. A mediocre, tyrannical or trendy one might puzzle over and dismiss them--while munching, perhaps, on some French pastry.

Among the Best: David Puttnam, Arnon Milchan, Jack Rollins and Charles Joffe, John Foreman, Sydney Pollack, Robert Altman, Amy Robinson/Griffin Dunne, Carolyn Pfeiffer, David Geffen, Stephen Woolley.