In order to sustain his long career in show business, Mel Brooks has capitalised on adapting material between theatre and film. This strategy is clearly apparent in the invention and prolonged life of his film The Producers (1968). This process started with The Producers itself, which Brooks originally manufactured largely by appropriating content from Broadway shows. This film, best understood as a jarring hybrid between Broadway and Hollywood, made Brooks's name as a director, and in later years, gradually became a ‘cult’ work with film critics, in part, for its ‘theatrical’ qualities. Brooks then capitalised on that critical popularity by remediating his 1968 film into a Broadway musical, The Producers (2001-7). That version was a massive commercial and critical success internationally. Following that project, Brooks then prolonged the work through adaptation into yet another Hollywood film, The Producers (2005). By examining Brooks's prolonged adaptations of this work in historical context – looking at the way they bring ‘cinematic’ content and audiences into theatres, and ‘theatrical’ content and audiences into cinemas - it is evident that Brooks has contributed towards, and capitalised on, the increasing modern integration of the film and theatre industries.