A Quote by Daniel Levitin

I actually became a producer because I saw the producers getting all the babes. They were stealing them from the guitarists. — © Daniel Levitin
I actually became a producer because I saw the producers getting all the babes. They were stealing them from the guitarists.
What I saw over all that time were so many deals disappearing and producers disappearing, fewer movies getting made, and it just being a bit more difficult. Working with Joel, we were in a bit of a bubble because he was always making things that were working for the studio and that kind of thing. We were always in production on something.
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.
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.
I was not the producer of 'Vaanaprastham' earlier. The first producers backed out when they became doubtful about the monetary benefits. I do not blame them. But as an actor, I wanted to make the film. So, I told Shaji sir that I would produce the film. It was only then we started shooting.
And there's a period where everyone's buying those and it's really bad because no one is Larry David or Ricky Gervais. And then they don't work and networks stop wanting to buy them, but because they wanted to buy them before the producer wanted to make them, the producers are still hanging on to wanting to make them.
Ultimately I'm making movies because of the producers and I don't want to disappoint my producer. It's always a tough balance to figure out how far I listen to them though.
The average film has eight or ten producers on it. That is just in a world that would be unthinkable to me, because to me, to really be a producer of a film, you have to be a line producer.
So I became a producer because I knew one of the reasons was they didn't do them the way I thought was right.
The problem is that to be a producer, one must be a gambler, and the greatest French producers were gamblers.
The Bible never says anything about dinosaurs. You can't say there were dinosaurs when you never saw them. Somebody actually saw Adam and Eve. No one ever saw a Tyrannosaurus Rex.
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.
I do not like people writing songs and then other people singing them. A lot of people don't even sing their own songs anymore. It's like producers these days have ghost producers; 'I don't produce, but I am a producer.'
I had this one producer who sent me tracks because he saw my YouTube videos that were popular and got a couple million views.
Coming to WWE, where they treat the talent a certain way, I really gravitated toward Bellator because you saw the trend in fighters wanting to go over there because they were getting better deals and getting more freedom with it.
I saw and I met a lot of people who were in the field. It also provided a context in which I came to respect what the actor did, because I saw how difficult it actually was to do.
For me, I used to be shy towards journalism because it wasn't poetry. And then I realized that the events that I covered in essays that became journalism were actually great because they inspired me, and they became my muse.
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