Dave Bernad

And so you can watch a movie 10 years later and go, why didn't they realize the third act didn't work? Or this is such bad casting. But sometimes you're so deep inside of it, you stop seeing the shit. Right.

And so you can watch a movie 10 years later and go, why didn't they realize the third act didn't work? Or this is such bad casting. But sometimes you're so deep inside of it, you stop seeing the shit. Right.

And so you can watch a movie 10 years later and go, why didn't they realize the third act didn't work? Or this is such bad casting. But sometimes you're so deep inside of it, you stop seeing the shit. Right.

Because what I mean, Mike and I talk about all the time, there's three producers on White Lotus. There's Mike, there's me, and there's Mark Kamine, who's our line producer. And what happens is, you know, the star of the show has a manager. So that manager is a producer. The star is a producer. It's based on a piece of IP. That IP has a producer attached. The writer of that piece of IP is attached.

Because what I mean, Mike and I talk about all the time, there's three producers on White Lotus. There's Mike, there's me, and there's Mark Kamine, who's our line producer. And what happens is, you know, the star of the show has a manager. So that manager is a producer. The star is a producer. It's based on a piece of IP. That IP has a producer attached. The writer of that piece of IP is attached.

Because what I mean, Mike and I talk about all the time, there's three producers on White Lotus. There's Mike, there's me, and there's Mark Kamine, who's our line producer. And what happens is, you know, the star of the show has a manager. So that manager is a producer. The star is a producer. It's based on a piece of IP. That IP has a producer attached. The writer of that piece of IP is attached.

They bring it to a non-writing producer who has a deal at X network or studio. There's two people that work at that company. So all of a sudden you're on notes calls with seven people. Right. And like,

They bring it to a non-writing producer who has a deal at X network or studio. There's two people that work at that company. So all of a sudden you're on notes calls with seven people. Right. And like,

They bring it to a non-writing producer who has a deal at X network or studio. There's two people that work at that company. So all of a sudden you're on notes calls with seven people. Right. And like,

Yes, and that's probably not going to turn out well. Then you have seven people who have seven ideas, who have seven interpretations of what good is, and all of a sudden you have a writer who's trying to service seven different people. It's never going to end up well. And all the things I've done that have been successful all have one clear vision, and you're all in service of that clear vision.

Yes, and that's probably not going to turn out well. Then you have seven people who have seven ideas, who have seven interpretations of what good is, and all of a sudden you have a writer who's trying to service seven different people. It's never going to end up well. And all the things I've done that have been successful all have one clear vision, and you're all in service of that clear vision.

Yes, and that's probably not going to turn out well. Then you have seven people who have seven ideas, who have seven interpretations of what good is, and all of a sudden you have a writer who's trying to service seven different people. It's never going to end up well. And all the things I've done that have been successful all have one clear vision, and you're all in service of that clear vision.

I think when there's too many egos and too many people weighing in, it just weighs everything down.

I think when there's too many egos and too many people weighing in, it just weighs everything down.

I think when there's too many egos and too many people weighing in, it just weighs everything down.

And that's kind of my role with Mike on White Lotus, but also that's a role that I try to service in every production I do, which is trying to kind of push on bad notes and trying to help creators, writers, directors filter opinions. What do I think, in my own taste, what do I think is a good idea? What do I think is a bad idea? And I think that's really...

And that's kind of my role with Mike on White Lotus, but also that's a role that I try to service in every production I do, which is trying to kind of push on bad notes and trying to help creators, writers, directors filter opinions. What do I think, in my own taste, what do I think is a good idea? What do I think is a bad idea? And I think that's really...

And that's kind of my role with Mike on White Lotus, but also that's a role that I try to service in every production I do, which is trying to kind of push on bad notes and trying to help creators, writers, directors filter opinions. What do I think, in my own taste, what do I think is a good idea? What do I think is a bad idea? And I think that's really...

A thousand percent. And what is a marginal move? Because it's all taste, right? Producing is all taste. It all comes down to opinion. And what's a lateral move that you can give to a network or studio or whomever to then buy back later on? Right. Oh, we have a great...

A thousand percent. And what is a marginal move? Because it's all taste, right? Producing is all taste. It all comes down to opinion. And what's a lateral move that you can give to a network or studio or whomever to then buy back later on? Right. Oh, we have a great...