Production
Wiseman started producing records in 1985 and his debut "Wet Water" charted No. 4 on CKLN-FM at Ryerson University. Soon he was arranging and recording many friends like Ron Sexsmith, Sam Larkin, Kyp Harness and UIC (band). The record he produced for Ron Sexsmith entitled Grand Opera Lane was rejected by Canadian A&R representatives. Through persistence he managed to get it to Todd Sullivan at Geffen Records in Los Angeles, who eventually gave it to Ronnie Vance in the publishing department who became a fan which led to a deal for Sexsmith with Interscope. Other notable clients were Kid In The Hall Bruce McCulloch, with whom Wiseman produced and co-wrote much of his Atlantic Records release Shame Based Man (listed as # 24 on Spin Magazine's top comedy albums of all time). Other artists Wiseman has produced include Edie Brickell, Canadian Member of Parliament Andrew Cash, Knitting Factory Recording Artist Carmaig de Forest, Anhai, Friendly Rich, Katie Crown, Bourbon Tabernacle Choir, Eugene Chadbourne, Bob Snider, Maria Kasstan, Levi MacDougall, The Phonemes, Mimi Osvath, Basic English, The Lowest of the Low, Sophie Traub, Kwesi Immanual, Stacey McLeod, Laska Sawade, Sean Dixon, Random Order, Jeanette Froncz, Christine Cleary and Kira Sheppard.
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Famous quotes containing the word production:
“Every production of an artist should be the expression of an adventure of his soul.”
—W. Somerset Maugham (1874–1965)
“I really know nothing more criminal, more mean, and more ridiculous than lying. It is the production either of malice, cowardice, or vanity; and generally misses of its aim in every one of these views; for lies are always detected, sooner or later.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)