Peter Chung says:
>I asked Mr. Maruyama the question of how Madhouse was able to produce so many projects every year, considering how unconventional (I didn't say uncommercial, but he got my meaning, I think) some of them are. He had a sheepish smile and confessed that when very talented people like Yuasa (or Hosoda or Kon) have projects they want to make, he simply can't refuse to accommodate them. For him, I've always felt that it was not money, prestige, popularity, or even the films themselves that drives his efforts. He loves working with talented artists. He respects them, and in turn, they will walk on hot coals not to let him down.
>It's not a matter of "spare money lying around". When a director and a team of artists say they are willing to work long hours to make a personal project for a low budget, a producer can see that either as a business risk, or as great value for the amount spent. (How do you attach a price tag on creativity?) What do producers produce? There are producers I've met who thought the job of a producer was to produce money. That the films are just the means to achieve that goal. Others, like Maruyama, never forget that it is the other way around.