A Quote by Cynthia Heimel

Los Angeles people are incapable of passively mainlining TV and movies. Here you have to read who produced or directed every episode, who wrote it, who had guests shots and whether you know them personally and if they like you. You have to figure out who everybody's agent is and whether yours is better. You not only know but deeply care about the difference between such job titles as Producer, Supervising Producer, and Executive Story Editor. ... So while the rest of the country is lying stupid in a media-induced coma, people in L.A. are in constant withdrawal.
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.
And often when things turn to TV series there are so many different people with different agendas that things can morph. And so, you know, that was why having the executive producer title was important to me because even if I was the star and I had a concern, you know, that concern would only go so far. But having the title of executive producer actually makes them have to actually listen to me complain.
The difference between ignorant and educated people is that the latter know more facts. But that has nothing to do with whether they are stupid or intelligent. The difference between stupid and intelligent people-and this is true whether or not they are well-educated-is that intelligent people can handle subtlety. They are not baffled by ambiguous or even contradictory situations-in fact, they expect them and are apt to become suspicious when things seem overly straightforward.
Oh, well, in Los Angeles everybody is an actor, or a producer, or a writer, or a director, or an agent, or... So everybody understands the hours.
Writing for television is a great job. And it's a job. Most people watch TV and have a comment about one or two moments of an episode - whether they love it or hate it or something in between. To come up with every moment of an entire season of a TV shows is heavy lifting.
There is a big difference between No. 1 and No. 2. I don't care who wrote it. I'd love to one day have a No. 1 that I wrote, but if that ain't in the cards, whatever. My job is right now is to make the best music I can and try to get it to the people, whether it be something that I wrote or not. It's my job to be the best I can for the fans.
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.
On 'Half Nelson,' I was credited as the director, we both co-wrote it and Anna was the producer. We didn't know too many directing teams working at the time except the Coen brothers and that seemed to be the model, and people always know that they're a team, whether the credit reflected that or not.
A producer is someone who actually calls the shots. An executive producer is just a guy that eats more food at craft service.
I finished my junior year of high school and flew out to Los Angeles. I didn't know the difference between a manager and an agent. But I got here and just started hustling and meeting anyone I could.
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 don't live in Los Angeles. I work in Los Angeles, and even that - I audition in Los Angeles; I very rarely film in Los Angeles. I don't hang out with producers on my off-hours, so I don't even know what that world is like.
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.
The difference between ignorant and educated people is that the latter know more facts. But that has nothing to do with whether they are stupid or intelligent.
My job is to cover the hell out of the story, very aggressively. The real place to be courageous if you're a news organization is where you put your people to cover the story. It's making sure that you have people going to Baghdad. It's making sure that you figure out how to cover the war in Afghanistan. While the journalist in me completely stands with them, the editor of the New York Times in me thinks my job is to figure out what the hell happened and cover the hell out of it, and that's more important than some symbolic drawing on the front page.
For me, Los Angeles, New York, where I don't know my neighbors, where people don't necessarily care if they know their neighbors, I'm missing things that truly fed my soul when I was younger, the exchanges between people, the caring and the shared history with people.
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