Quotes of All Topics . Occasions . Authors
Becoming a producer enables you to empower yourself, to make the film that you want to make. I have desires to make movies - I have movies I'm developing, and things that I'm interested in.
My second record I used a producer, which was frustrating in a way, because I think a lot of the punky spirit and provocative nature of the lyrics didn't come across - the music was pretty.
I terribly miss - we all miss, I think - somebody like the great producer Irving Thalberg. He had a foot in both camps: He understood us creative people. And he understood the money people.
So dance music is now pop music. So now, as a dance producer, what do I have to do? So I'm starting to do alien music, because pop is not pop anymore; we need to go alien to be independent.
If a movie doesn't even have financing yet, they'll do a table read for it at a casting director's office with actors, for the producer and the writer, just to hear if the movie is working.
Well, a lot of politics is communicating with people, and obviously comedy has something to do with that. I've been a producer and led people. Also, being a comedian, you're under pressure.
My responsibility is to the artist first. There's something that artists intrinsically know about their music and their fanbase that neither the record company nor the producer really knows.
Your job as a producer is to make suggestions without putting your ego in front of everything else. Also, I think you want to focus on that artist's best qualities and really highlight them.
I think you should do Bollywood once you are all into your own market. Doing a Bollywood song for a particular actor or producer, you should be known in the world outside of Bollywood music.
You have to pace yourself. As a producer, you start with a concept and shepherd it through the script to the delivery of the film. It's a very long journey for an hour and 40 minutes of movie.
To take a whole load for a whole album on yourself is very challenging and kind of hard to execute when you don't have a reputation as a producer. If you do it for fun, you get a good outcome.
I describe myself as someone who was always putting on a show, even when I was a little girl. I wanted to be an actress but I liked organizing everybody and putting on plays. I was a producer.
I think that one of the greatest perspectives that I have, from being a buyer for my whole career until I became a producer, is that I have a pretty good understanding of the buyer's mentality.
I'd be saying, 'No, I'm so not a DJ, I'm a producer.' But no matter how much faith you may have in yourself, until you have a hit you can't really run around telling everyone you're a producer.
Every time we go into the studio and use a different engineer or producer I try to look, listen and learn their approach. That has helped with the gear I look for to use live and in the studio.
I did a series called Ned and Stacey for two years for Fox back in the 90s. I was writer on it as well as a producer, and it was very important to me that there were no contemporary references.
TV is very much a producer and writer or creator-driven machine in the States. And I'm the kind of actor that needs to be pushed and have someone on my case a little bit, so I suffer from that.
As a producer, when I'm trying to make something soft, I start with a slow tempo. Then after that, it would be straight to acoustic guitar and vocals, or I'm going to go strings and just piano.
I was a dog groomer. I delivered radiators; I was a photography producer. I typed classified ads for many years. It was my longest term job - years of typing classified ads while I was in bands.
'Perfect competition' is considered both the ideal and the default state in Economics 101. So-called perfectly competitive markets achieve equilibrium when producer supply meets consumer demand.
Usually in TV... A TV director could be anything from a main grip to just a glorified cameraman, and sometimes a director can be the person who is hired last. It's very much a producer's medium.
If you screw up five films straight, then you're done. It's a business, the producer invests money and you need to make sure his money is recovered and in the process you give out the best film.
Even though I've been making electronic music since I was 14, it's hard for people to see you as a producer with a musical identity when you're contextualized in a band that performs on a stage.
It's a hindrance in trying to get a serious acting role. The minute a producer has a script and my name comes up, they immediately think of 'Playboy,' 'Hee Haw,' 'Fantasy Island' and 'Love Boat.'
That's really important in a producer - a producer that can step up and play a keyboard, play a bass, play a guitar, and help you with things instead of just saying, 'I think this could be better.'
I don't think of myself as a television producer. Obviously, that's crazy. Because I should. That's what I do. But I don't actually see that as my job. It's why my business cards say 'storyteller.'
When you mix a record that someone else is on, you've got to send it to them. They've got to like the mix, you got to like the mix, the producer's got to like the mix. Too many people are involved!
I do think I'm lucky I met Michael. Not just Michael Douglas the actor and producer with two Oscars on the shelf, but Michael Douglas, the love of my life. I really do think it was meant to happen.
With a musical, you kind of have to do a mind-meld with the book-writer, the lyricist, the composer, the director - sometimes the producer. I think that's a reason why musicals are the hardest form.
Every producer I have met has asked me to change my hair. I have always said 'No.' I finally change it for me... and now everyone in the business is like, 'You have to go back to having brown hair.'
At O'Reilly, the way we think about our business is that we're not a publisher; we're not a conference producer; we're a company that helps change the world by spreading the knowledge of innovators.
I wound up getting pulled into being a consultant on the Lifetime drama 'For the People.' The executive producer said, 'I want you to write scripts.' We sold pilots to a bunch of different networks.
Collider is a company that I formed with a movie producer, Alisa Tager, and we just wanted to create a place where writers could come and develop their ideas without a regard to limitations of form.
On 'Darjeeling,' I was on set every day and I acted as the second unit director and a producer on that film. I was there throughout the whole process. On 'Moonrise Kingdom,' I showed up for one day.
'Bahubali' is not about big budgets, big visuals, or massive marketing. If a hero, producer, and director in Bollywood can have that kind of trust, something even bigger than 'Bahubali' is possible.
I like to entertain people according to what they're saying entertains them. As an artist, musician, songwriter and producer, I sit back and hear it, and... if that's what y'all like, I can do that.
The usual key to getting films made seems to be a producer's terrier-like determination not to let it go. Unfortunately, such producers often seem prone to sinking their claws into mediocre projects.
If an executive producer has written a certain line, and an actress says it, and it's not very funny, you don't dare go to them and say, 'I don't like this,' because it will make your life miserable.
With literary fiction, generally a film maker falls in love with a book. In commercial fiction, it's a producer or studio falling in love with a book they can make into a movie with worldwide appeal.
I never had any plans to become a producer when I was a kid. I wanted to be a DJ, like most other kids at the time. Then my mum bought me a Casio keyboard and I started to sample sounds that I liked.
Most films I work on, the people making the film are constantly second-guessing the executives of the studio, the producer, and the audience. It is very hard to accomplish anything in that situation.
When 'The Pacific' came around, I had to audition the old-fashioned way. It was the casting director and then the producer and then another producer and another producer and then Spielberg and Hanks.
I was singing a lot of waltzes. And I was with Jerry Kennedy, my producer, and he was playing me some songs, and he said, hey, I want to play you this song that I'm going to get Jackie Ward to record.
A lot of people don't know that before the artist, I wanted to be a writer and producer. That's always been a love of mine. Its easy for me to do it on myself, but it's fun to create for someone else.
As a producer, I'm trying to challenge myself to just make something that is of a professional quality - not necessarily pop music, but maybe in the sense that Nine Inch Nails is professional quality.
I want to direct more often. The job of a producer brings its own benefit as you start to see the simplicity of film making. But yes there is a constant battle between the director and producer in me.
I can't really recall the first time I was noticed by a producer but the first time I was on television was doing Daytime for Another World, which I started in December '75 and went until December '76.
At that time, I was signed to Columbia Records as an Independent Producer. I spent many weeks forming, auditioning, rehearsing and recording demos for Kenny, who was finally signed to Columbia Records.
Little Steven - the songwriter, producer, and arranger - stayed alive doing the 'Lilyhammer' score. That pretty much took up three or four years of my life, and all of my musical energy went into that.
It's always been a dream of mine to be Ginger Rogers or Cyd Charisse, and here I am performing alongside Robert Lindsay and being directed by a major Broadway producer. Who said dreams don't come true?