In general, cinematic explorations of film and theatrical producing can be a very tricky proposition. Because these events occur in the hermetically sealed, self-referential world of show business, making them deliver means pulling an audience into a sphere that is all but alien to them, and enabling them to care about such foreign subjects as deal-making and schmoozing. Whether the tone is bilious (as in The Producers
), fond (My Favorite Year
), or a bittersweet combination of the two (Festival in Cannes
), an underlying level of emotional investment is necessary to even begin to make the material work. Meeting Spencer
, an insubstantial, un...