Producing Tenzing - A Real Case Study

Some, you know, we've got a lot of stakeholders as producers in terms of, like, who are we making, who do you think we're making a show for, you know? I was thinking we've got, you know, commissioners, financiers.

We've, we've got the audience themselves.

Um, there's the creative, uh-

Yeah

... key creative.

There's ourself, and then there's the project itself.

Like, who do you, who are you serving?

I think, I think ultimately the audience.

Um, I think you, uh, absolutely have many masters, and you have the financiers/commissioners, um, and then you have the expectations of the creative, key creative.

Mm.

Um, so and then you have your own likes and dis- taste [laughs] if you like.

Um, but I think ultimately it's the audience, and that's always the most terrifying part, I think, is when you finish something and you hope it's good or you think it's good and you, you have to sh- you just want people to see it.

Yes, you do want people to see it.

Like, there's nothing worse-

Yeah

... than doing something and no one sees it.

Yeah.

It's one of the biggest disappointments-

Yeah

... of your career.

So-

No, there's not much value in it if it doesn't have anyone to-

Yeah

... at least to see it, experience it.

You're telling a story for an audience-