The notion of film producers as the ogres of the movie business has proved an (i)_____ one, but according to The Producers by Tim Adler, it is not always grounded in reality. Attacking what he calls the “auteur myth”—the idea of the director as the single purveyor of art in an industry otherwise peopled with (ii)_____—he places at the heart of his book an image of the producer, not the director, as the primary (iii)_____ force in the development and production of a movie.