Quotes of All Topics . Occasions . Authors
After I turned producer, people asked me, 'Why are you taking up production? You are still so young and doing well.' Just because an actress decides to make movies, do people assume that her career is not going well?
I didn't understand that I couldn't just leave and become sort of a semi-regular. I had to be sat down by the line producer, Carol Himes, in my dressing room and told, 'I hear you're thinking about going to college.'
For John Woo, it is quite difficult to make a movie in Hollywood in his own style. Because Hollywood is based on a producer system, it is difficult for a director to express himself using his own style of filmmaking.
I was at a party in London when I met Bond producer Barbara Broccoli. She introduced herself, and I didn't believe her name. So I just replied: 'Yeah, and I'm Cathy Carrot.' I think maybe I got off on the wrong foot!
I landed a job at HBO, working for two years on the 'The Alzheimer's Project,' which aired in May 2009. I was fortunate to work with a great mentor, producer John Hoffman, and the amazing doc filmmaker Susan Froemke.
I always do stories that I believe in, characters that I find interesting, and directors who I want to work with. All these factors have contributed while making choices and continue to as an actor and as a producer.
With pretty much everything that I've done, in terms of going from being a songwriter and producer for other artists to doing my stuff, all the songs that I've kept to myself have always been me writing about my life.
If I have enough ego to say I'm a writer, a director, a producer, and an actor, I should have the energy and the knowledge to write a scene for this great actor named Henry Fonda and direct him in it and have it work.
I love being a producer, and I think I essentially still operate as a producer even though I now have control of marketing and the ability to green-light shows - something every producer wants but that they don't get!
I started working as a movie writer and a movie producer... all the way back to 'Teen Wolf' and 'Commando.' All of those experiences, plus working both at DC and at Marvel - each of those things are bricks in the wall.
Yes, I was invited to make the sound environment at a booth of a huge electronic company, during the Hanover Industrial Fair in 1973. It was a job. Slightly good paid. But not as much as my producer then told the press.
Liberals complain that coal activity isn't a major producer of jobs because the industry is producing a lot more coal with a lot fewer workers. That is absolutely true. Ladies and gentlemen, that is called productivity.
In 1999, when Ted Williams came out and saluted the fans at the All Star Game at Fenway, I had a huge lump in my throat, and the producer is yelling in my ear to talk, and I couldn't, thankfully, and it was much better.
When I saw the rise of the anti-Christ Donald Trump, I was like, 'Hell no.' We can't be in a country where we love celebrities so much that we let the executive producer of 'Celebrity Apprentice' become the GOP nominee.
Sometimes a producer and an artist get together and they make magic like Quincy Jones and Michael Jackson. As far as my own music career - you could liken my chemistry with Timbaland to Marty Scorsese and Robert De Niro.
From a producer's point of view, of course, 'Law & Order' presents an ideal - a show that is almost entirely actor-proof, that can keep going and going no matter what happens to the cast or how many actors demand raises.
I would like to work with Ed Sheeran at some point. I really admire his songwriting, and I just think he has a great voice and great artistry. Who else? On the producer side of things, definitely Diplo: that'd be awesome.
Truth be told, I didn't want to be on T.V. I was going to be a writer or producer or a director, and at the end of my sophomore year, my department chairman put me up for a job doing weekend weather in Syracuse, New York.
I've never had to fight for a role. Call it my ego or my self-respect, but I won't pick up the phone and call a producer and fight or ask for a role. That's not me. I've always got the best, and my work speaks for itself.
But I really am very active in the choice of the line producer with the producer of record and the distributing company, because I've had some terrible, terrible experiences with some line producers, particularly in cable.
A song is composed of music and lyrics: 50 percent is the producer, 50 percent is the artist. So, I'm responsible for 50 percent. All I know is that I have to do my job, and I have to do it well. And he has to do the same.
I got to do Disney Sunday movies. I got to do a TV pilot there. And it really helped me to realise that I needed to not just be a writer, but a producer, to see my work up on the screen the way I wanted it to look and play.
Good evening, ladies and gentleman. My name is Orson Welles. I am an actor. I am a writer. I am a producer. I am a director. I am a magician. I appear onstage and on the radio. Why are there so many of me and so few of you?
The big producer is going to figure out how to deal with whatever the rules are, but the little guy who is running a few hundred units or maybe feeding 1,500 cattle a year, how will they ever comply with these requirements?
We can be in the studio with the hottest producer, but we might not be able to create any magic! It's not about the hottest. It's about who we feel we have that connection with, and that's who we're going to be working with.
The sound of 'Take Her Up to Monto' and 'Hairless Toys' is the sound of me and the producer in the studio doing whatever we like. There is no reference. It's too easy to be referential now; I'm trying to find something else.
There's one thing which I hate about color films... people who use up a lot of their despairing producer's money by working in the laboratory to bring out the dominant hues, or to make color films where there isn't any color.
Jessie Wallace was the first time I erupted. She was late, she was young. She's not like that any more. I lost my temper. It was silly and I burst into tears and ran up to the producer. I said I had been terrible and amateur.
I feel that when I listen to music - not that it's bad - it's not emotional. It has a gimmick to it. It's selling something: the artist, the producer, something. The emotional capacity is very small, for the listener as well.
I always think that you should never, ever force a producer to do something with a song that they don't think they can do something fantastic with, I think it's a stupid idea to force it, even if you think it's your best song.
There are instances where, in my mid to late 20s, I very often found myself going for roles that they didn't want to cast me in, because I'd done good work, but in a producer's eyes, I wasn't high enough status. So I lost out.
Oh, she just happened to be a friend of the producer's. Or, oh, they've been trying to get her from the beginning and she just had a spot open up. There are always little loopholes, so I don't take anything personally anymore.
Jerry Bruckheimer is the most hands-on producer that I've worked with. Jerry's very involved in the music, and he's such a fan of film. When you watch him playing back the cues to the picture, he's like a kid in a candy store.
I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.
In general, a film's delay is disheartening for actors, but it's harder on the director and the producer who have been on the project for longer than anyone else. While actors move on to other projects, the film's makers don't.
I don't concentrate on technical things like where a microphone is placed and things like that. As a producer, I try to keep the initial feeling from when I first heard a song and make sure we do what were initially aiming for.
I'm a very good listener. I think that's one of the things that makes me a good producer. But it's a challenge for me because my custom is to listen and absorb what someone is saying and take it in, and not necessarily comment.
You are treated like a cog in a machine. The director might be obsessing so much with the stunts that he doesn't notice your performance, and the producer may just be an insane money man, but I have no snobbery about the movies.
The challenge for a director - and I think a lot of directors feel the same way - is that today we have to put on a producer's hat, too. Meaning, you have to sometimes think of it being 'business show,' not just 'show business.'
I had heard that Robert Duvall was interested in doing 'Lonesome Dove,' and he's one of those actors with whom I'd work on any project. So I tracked down the script and started to bug the producer, Dyson Lovell, to get in there.
I've been told that I might make a good producer because I am very Type A, and I'm kind of a control freak, so I've been told that that might translate well into producing, so I would certainly be open to trying my hand at that.
Any part I do is a marriage of the words - what the playwright or producer or show runner's vision is - to how I would play it. It took me a while to get rid of 'Oh, they want it this way, so I'm going to do it how they want it.'
Earlier in my career, I needed to be the writer, casting director, set designer, leading man, and producer. I've been eliminating a lot of those jobs. I'm an executive producer right now. I still get to pick the best screenplays.
If you're always waiting for a producer to hire you... your chances are really, really small. I've been knocking on doors and asking for a job for many years, and my career really changed when I decided to create my own material.
It is a great honor to become Executive Producer of 'Frontline.' David Fanning's mentorship and partnership over the past fifteen years has been extraordinary. I am inspired by his legacy and honored to guide 'Frontline's future.
When you do a first movie, you're contractually supposed to do the second one and then you don't do it, you become an executive producer. That's why there are a ton of directors who have executive producer credits on other movies.
Every song that is a Hopsin song, I 100 percent made it. Nobody helped me. There was no producer to say, 'Hey, put the beat like this... ' It was all me. If the song was wack, then the song was wack. If it's dope, it is what it is.
The thing I love about Marshmello is that he caters to individual songs as a producer. He has his vibe, but he also really puts something on the song that the song needs instead of having his thing and everything sounding like him.
A box-office number is good for a producer and the industry to keep the turnover game on, but as an actor, I give importance to script. I will turn down a script, even if it guarantees Rs. 100 crore, when I'm not convinced with it.
I was the only person at Univision who had complete creative control of my own show, by contract. They didn't like that. I was the executive producer; I owned the studio where we taped. I decided who went on my show and who didn't.