Top 1200 Executive Producer Quotes & Sayings - Page 2

What is absolutely true is that any good [Television] series has a specific voice. And I think that voice is almost exclusively the domain of the executive producer. . . . As a staff writer you're not being called upon to be the great creative person. You're sort of called upon to understand the characters and their voices and put them through certain paces.

The polished executive is ultimately the happy executive who can walk gracefully through life.

There's an inherent idea that if a Black executive producer and a Black director are going to do a movie based on a Black writer's book that everybody is going to be Black.

I've been an executive and a progressive executive with a record of accomplishments.

We're big fans of the show on BBC, and some of the greatest actors in film and television have done this character, from Basil Rathbone to Nicol Williamson to Michael Caine. (Executive producer) Rob Doherty came in with the pitch last season, it was immediately a show that we gravitated towards.

Newt Gingrich said that this executive producer is weird and it raises - does raise questions about possible conflicts. The FCC regulates NBC corporations can try to curry favor with the president by placing their products on the show [Celebrity Apprentice].

Basically, Marvel always have an executive on every film. So we had Kevin Wright. And there's kind of a Kevin Wright on every production that is essentially your producer, but they're also the Marvel gatekeeper, I guess, or the overseer.

I started working with James [Schamus] early on, and my role as an executive producer was more about being involved in the conversations of putting the film together. I didn't have to do much work because James is the most experienced first-time director you could imagine.

I think from the age of thirteen, I really wanted to be a producer and I've always thought that the producer was the top of the tree.

For me able to do the records I want to do and not have to worry about this producer or that producer or that trend, I'm not really interested in that.

People assume that the executive branch has more power than it actually has. Only the legislative branch can create the laws; the executive branch cannot create the laws. So, if the executive branch tries to create a branch one side or the other... you go back to the founders of the nation. They set up a system that ensures that it doesn't happen.

I was an executive producer. I've done a lot of jobs and I think each one helps you get closer to what you want as a director. It also helps you - when you work with different filmmakers - to absorb, to adapt, to know what to watch out for, to know pitfalls.

I'm not a full-fledged producer, but I can be one if I want to really spend my time on straight being a producer.

You should find the dopest producer in your area, and that producer is always going to want songs written to his beat.

I'm not a producer and I don't even know the places my producer goes to, thankfully.

I was offered the role of the Reverse Flash on 'The Flash' by Executive Producer Andrew Kreisberg and Greg Berlanti, who co-created the series with Andrew. I said 'yes' immediately because I had worked with those guys before on the show 'Eli Stone.'

Boygenius' was the first time I produced without a producer-producer in the room. It's been crazy.

I'm a producer... I am a Hollywood producer. That is so weird. And it's not lame. But it's just like, how did that happen?

I've got a pen, and I've got a phone, and I can use that pen to sign executive orders and take executive action. I've got a pen to talk executive actions where congress won't. Where congress isn't acting, I'll act on my own. I have got a pen and I got a phone. And that is all I need.

When our executive producer, Julie Plec, told me I was going to become a hybrid I got really excited. Because theres a lot of responsibility that comes with that, especially in our world of The Vampire Diaries where Tyler is the first successful hybrid thats made.

Part of the fun of working on 'Beverly Hills, 90210,' for me, was that I got a lot of freedom from our executive producer, Chuck Rosen, to add things, change things. I got a lot of freedom to be creative.

If I have to wear a hat as a producer to do that, then I'm willing to do that. An actor's, producer's and director's point-of-view is all the same to me, as long as the story's being told.

It's funny, because '1600 Penn' was the first time I really started to read the reviews, because I am an executive producer and I wanted to see what people were enjoying and not enjoying as a means to an end, right?

My media career came about by accident. In 2006 I was introduced to Roger Ailes, the President of Fox News Channel, by a friend of mine who was an executive producer. Ailes put me on the air one day, and one week later, I was offered a contract.

As the show's executive producer, I envisioned something akin to "Gilligan's Island" meets Lord of the Flies meets Ten Little Indians mets "The Real World." "Survivor" marks a return to a core element of adventure: staying alive.

If there is a public perception at all, they see the producer as a big old guy who smokes a cigar and has lots of money and lots of power. That's not what a producer is and, if it ever was what a producer was, it certainly hasn't been for a long time.

You always have to remember in this business that the public doesn't care about us. It's very important to keep that in mind. If there is a public perception at all, they see the producer as a big old guy who smokes a cigar and has lots of money and lots of power. That's not what a producer is and, if it ever was what a producer was, it certainly hasn't been for a long time.

Writing a novel, when it's all going well, it's wonderful. You're lost in the world, and you have a relationship with your own mind. Also, as a novelist, you don't have to yell at anyone. But being an executive producer of a TV show, all you have is people coming at you with questions, and you're making decisions, decisions, decisions.

An actor like me hardly ever sees a producer. My agent will say, how about Coogan for the part. The producer will say yes. So you never see the producer.

In every government there are three sorts of power: the legislative; the executive in respect to things dependent on the law of nations; and the executive in regard to matters that depend on the civil law.

A "showrunner" as a position is a relatively new thing. It used to be the executive producer. That's not true anymore. Now it's evolved into this model where people look to showrunners and say, that guy is that show. It's just become a lot more interesting to know the showrunner and to get a sense of that person.

As mayor in an executive position, I have to dress more like an executive, which has been delightful.

[Make a sitcom] was really the idea of Executive Producer Joe Roth who owned the property over at Revolution Studios and said he was thinking about taking it to TV. And after he said that he already had [writer/director] Ali Leroi on board, and that he was going after Terry Crews, to me it was a no-brainer. I said, "Let's put this together!"

I was an executive before I was a producer, and I've seen franchise fever grow, over the course of my career. The one thing that people always forget is that it's only a franchise if audiences really want to see more of it. It's up to them. It's really not up to us.

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.

Show me an executive that works long hard hours and I'll show you a bad executive.

We learned that President-elect [Donald] Trump intends to keep his executive producer title on Celebrity Apprentice. We know he's going to come out later this week and talk about how he's going to handle the overall conflicts of interests, perhaps, with his businesses in the White House.

Face the Nation' is a brand, a mantle, and it's a responsibility to continue to uphold, and to protect. My job is to maintain the brand, grow the brand, and along with our executive producer Mary Hager, help bring the brand along without in any way devaluing the trust that people have bestowed on us over the years.

In my head, the 5 issues of A Spoon Too Short comprise one novel: a 100 page graphic novel sequel to Douglas' two Dirk books, taking some of the ideas he was working on before he died, and a whole bunch of new stuff from me and a little from Max Landis (who is the Executive Producer on the book as well as writing the forthcoming TV series).

I never doubted that if I applied myself and tried to learn that I would good at it. I've had a lot of lucky turns, no doubt. But it's actually been a fairly direct line from control-freak, cartoon-obsessed kindergartner to control-freak, cartoon-obsessed executive producer.

My feeling about executive bonuses is that any candidate for a chief executive job who even raises the issue of bonuses should be dismissed out of hand.

There's a whole process of how the U.S. enters into executive agreements, which involves a legal component, a legal analysis of the agreement, as well as a review by executive branch agencies and otherwise.

The goal isn't just to make transactions: it's to make better decisions in the way you run your business. If that's not at the top of every executive's priorities, then they shouldn't be an executive.

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.

Every creator has to follow what they believe. That's the message I would love for every single executive to get, to clearly understand, and every single producer out there.

Executive producers don't have to do anything. Nor do any kind of producers. They just sit around on deck chairs watching stuff, and if it gets cold, they leave. Actually I suppose as a producer you've got to be involved in helping out with solving problems.

An overburdened, overstretched executive is the best executive, because he or she doesn't have the time to meddle, to deal in trivia, to bother people.

When I'm hired just to be an actress, I don't have to worry about anything else but showing up on set, making sure I know my lines and making sure I know what I'm bringing to the character. When I'm a creator and executive producer, I have to worry about the whole thing.

Executive power in any nation arguably has more in common with executive power in another country than with the citizens it should serve.

When our executive producer, Julie Plec, told me I was going to become a hybrid I got really excited. Because there's a lot of responsibility that comes with that, especially in our world of 'The Vampire Diaries' where Tyler is the first successful hybrid that's made.

It is good to be back in the Peoples House. But this cannot be a real homecoming. Under the Constitution, I now belong to the executive branch. The Supreme Court has even ruled that I am the executive branchhead, heart, and hand.

I'm still a hip-hop producer. I never put a label on what I can do as a producer or a DJ.

I was an artist, I was executive producer on my first album, so I've always had to manage both. I couldn't get a record deal. It wasn't by choice - I couldn't get a record deal, so I had to figure it out.

The real scares on CNN, etc. and the scares in a movie, like 'The Purge,' are totally different. One of the ways you can tell when someone, whether it's a film maker or executive or producer, wants to make a scary movie but doesn't understand that distinction is they'll want to recreate too much of what's on TV.

Those titles, Executive Producer or actor, are unimportant. I always try to approach my role as an artist. The first thing you want to do, that you attempt to do as an artist, is to have some sort of input into the material that you are working on. That is how my process begins; I say to myself: "I want to do this kind of work or I want to do that kind of work."

I was creator and executive producer of 'The Brady Bunch' on TV. The stage version was done by others, but it was a repeat of the old scripts. The 'Gilligan' musical is a completely original work with all seven characters and 18 original songs.

All I ever really work for is to be a really good engineer, a good producer, a good executive, good in the world of Beats. That's power to me.

I told myself I'd do well by using the experience I gained during my seven years as Big Bang. In my mind, the executive producer is the person that is in charge of everything up to the point that the album comes out. So not just the music but also the music video, album artwork, photographs, and even the material the album itself would be made out of.

I'm lucky. I don't have to produce the whole movie. What I've been doing is just coming up with ideas for movies. I write a concept, a treatment, an outline, and if I sell that to a studio, then someone else does the actual production and I go on to another project, although I keep the title executive producer.

Since we launched the original 'Pop Idol' in England, I've remained close with Simon Fuller. Working as executive producer on 'American idol' for its first seven years not only was an inspirational journey into the heart of American pop culture, it opened my eyes to the untapped potential of the incredibly dynamic young people in this world.