A Quote by Andy Richter
The people on Quintuplets were great, but I wasn't a producer on that show, and it wasn't exactly my taste.
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The people on 'Quintuplets' were great, but I wasn't a producer on that show, and it wasn't exactly my taste.
taste governs every free - as opposed to rote - human response. Nothing is more decisive. There is taste in people, visual taste, taste in emotion - and there is taste in acts, taste in morality. Intelligence, as well, is really a kind of taste: taste in ideas.
I don't think there's any show that really escapes it: It's very rare that a creative producer stays with the show. As soon as the producer leaves, they cut the budget.
You don't show respect to Frank Sinatra and his great example by trying to sound exactly like him. You show it by sounding exactly like you, and that's the way jazz has always progressed as an art form.
Literally, when the pilot came out for 'Glee,' I think we had a watching party or something. We were all seniors, and everyone all of a sudden in the show choir were so excited. We were like, 'This show is awesome. It's so cool. This is exactly us.'
Just as the great oceans have but one taste, the taste of salt, so too there is but one taste fundamental to all true teachings of the way, and this is the taste of freedom.
Just as the great ocean has one taste, the taste of salt, so also this teaching and discipline has one taste, the taste of liberation.
When I went into GM there was a lack of morale. The company had gone bankrupt and the people who worked there were embarrassed. Underneath all of, though, there was a will to show what they were capable of, but nobody knew exactly what to do.
We were fortunate at that time we were working with Virgin, and with Flood, probably more well-known as Brian Eno's engineer now and U2's producer, etc. Even though we weren't working in a strictly popular music area, which was great, we were lucky enough to work with people who were on the cusp of those sort of things.
At the beginning of the Larry Sanders show, you know, we were grateful to get guests. At the end, it was as if we actually were The Tonight Show. People would come on, and it had the same sort of imprimatur as if we were on the air. I've been on a lot of talk shows during that time and since then, and people would come up in the dressing room or in the corridors and say, "You guys got it exactly right." Or they would say, "We have Larry Sanders moments every day."
I can be. I do not normally try to be. In fact, there have been some reviews - which I've loved - that said I didn't
try to sell my show on sex, that I sang my show. On the other hand, I know I'm cute. I can dance. I don't have a
bad figure. I know exactly what I am. I'm certainly no great beauty. I know exactly how far I can go.
I'm inordinately proud of Smash, on so many levels. The complexity of producing that show, every week, is just incredible. As a television producer and as a Broadway producer, which I once was, I am in awe of what we can do on that show, every week.
I think a lot of people who watch TV don't realize when they're watch TV shows and it says 'produced by' and producer, producer... there are all these producers. What the hell does a producer do? It's funny how much you have to worry about as a producer.
...the great merit of the place is that one can arrange one's life here exactly as one pleases...there are facilities for every kind of habit and taste, and everything is accepted and understood.
We started with Denny Cordell, and he was a great record producer. He knew exactly how to take a band that knew absolutely nothing, and guide you without trying to tell you what to do.
I was one of those people at one point who was scared to put my foot down and show where the boundaries were. For me, it's really important to stand your ground and know exactly what you are, where you wanna be, and what you're doing, or else people are gonna try you.
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