We need more directors willing to take risks with films like Get Out.
You see this kind of guy all the time in Hollywood, in the cheaper restaurants in the better areas. They're your friend. They're supportive, fairly smart, and clever at flattering without seeming to flatter. They live for the day when they can somehow put together a package and take it to an agent or a studio and get an associate producer's credit and a couple of hundred grand.
They feed off talent. They may, indeed, have a better nose for talent than the high-priced executives in the big studios. Their problem is, they don't have any cash, and so their business consists of arranging meetings between people with talent and people with cash. Most of the time nothing comes of these meetings. When something does happen, it usually involves either the guy with the talent selling out, or the guy with the cash losing it.
Barry Primus' "Mistress" knows a lot about the world of guys who made a little money in one business and now want to spend it in show business. In particular, it knows how the word "producer" is used among Hollywood would-bes.
"Producer" here does not mean a man who can, or will, produce a movie. When used between men, it means a guy who can write a check.