A Quote by Bill Rancic
Well, the 'Giuliana & Bill' show is a little bit different because Giuliana and I are the executive producers of the show, so certainly we have a lot of control and we have total, I guess if we wanted to, editing power, but I will say, in the seven seasons we've done the show, we've never used our executive producer powers to cut something out.
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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.
Show me an executive that works long hard hours and I'll show you a bad executive.
This whole idea of editing, not one time I can tell you, not one time has a producer ever asked me to say something I did not want to say. I will also say this about 'Drag Race' producers: I will stand by the show and the people there because they have changed so many people's lives for the better, and I'm one of them.
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.
When I was pitching 'Power,' I had an executive say, 'Well, I already have a black show.' He said that right to my face.
The Obama administration has abused the executive power, enforcing Common Core on the states. It has used race to the top fans to effectively blackmail and force the states to adapt Common Core. But in one silver lining of Obama abusing executive power is that everything done with executive power can be undone with executive power and I intend to do that.
Let me tell you about being executive producer. It is not a job, it's a title. Don't go around asking executive producers what they do because they don't do anything, alright?
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.
Show me a chief executive who’s on five boards and who lends his or her name, prestige and time to 15 community activities — and I’ll show you a company that’s underperforming. A chief executive is paid to run the company. That’s the CEO’s job.
It's a very different show because of the elements that we're putting in. There's so many different styles of comedy, but Mr. Show was unique to Bob and David - two of the most brilliant performers and writers there are. Their show was based on them. Our show is a bit more broad. We have a cast of 7, we have guests. We can be slightly more topical.
Such an executive officer the sun never shone on. I have but to show him my design, and I know that it can be done, it will be done...Straight as the needle to the pole he advanced to the execution of my purpose.
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.
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.
Show me any top entertainer or top business executive, and I'll show you a guy who has mapped out his life from the very start.
Every wrestling show is now designed to be the greatest show ever. In contrast, the NWA show is different. It didn't tire people out to watch, something was allowed to register. It is the exact antithesis of planned, big budget, choreographed, scripted sports entertainment, and that is what makes the show so different.
I was selling a piece of my art on eBay from The Escapist, which was an adaptation of The Adventures of Kavalier and Clay, and the person who bought it was Alan Heinberg, one of the executive producers of the show and was a huge fan of my work and asked if I'd be interested in maybe being the ghost artist for Seth. It clicked and I could relate to Seth's plight on the show. It became really easy to fill in his shoes, and people really grabbed onto it; they really dug that sort of very minor sub-plot in the show.
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