A Quote by John Kani

I have been on the Urban Brew board for many years and assisted with the artistic evaluation of the various shows that were pitched to the production company. — © John Kani
I have been on the Urban Brew board for many years and assisted with the artistic evaluation of the various shows that were pitched to the production company.
Financing for 'Shotgun Stories' was initiated with money from close friends and family. This is where the money to go into production came from. After production, a company called 'Upload Films' came on board and provided post-production funds and services. In both instances, people were taking a gamble on us.
My dad had a company, and there were various films that hadn't gone into production that I'm trying to nurture.
I've pitched too many innings and pitched too many years - one game doesn't make or break my career.
I have my own production company called Urban Dreams.
We were shooting at the Kodak Theatre and to see my production company's clap board in front of Sylvester Stallone was overwhelming, I had to pinch myself. It was a magical moment. It was a different high.
In the decade before the Civil War various north and south lines of railway were projected and some of these were assisted by grants of land from the Federal Government.
In the decade before the Civil War various north and south lines of railway were projected and some of these were assisted by grants of land from the Federal Government
My father was a brew master. He was the one who I was very close to, he influenced me in many many ways including my pursuing a career as a brew master.
But we were really locked in to that kind of format, and as the '90s wore on, it became for me more solidified, in that sense that there weren't as many of those magical shows that were just magic all the way through as there had been in earlier years.
If I were to give you a list of names of the people, world political figures, who have been assisted by the CIA, and even assisted to office around the world, you'd be astonished and probably wouldn't believe it. But it's very long, and the names are very distinguished.
But I did mine through a production company. All the music I did, I gave to the production company. Then the production company would give the record company the album. I used to do all my albums like that. It was fantastic. But now, understand, I have never planned to do anything with these other tapes. The one that are released, like the Virgin Ubiquity you have there, I wasn't going to do anything with that music. One day, I was talking to this guy that owns BBE over in England, and I said I've got some tapes and stuff that you might be interested in, and he went berserk.
Usually if you have an idea, you have to first pitch it to a production company, get them on board, then go around and pitch to networks.
It is impossible not to react to the current state of affairs through personal action and artistic production. We have been at war for three years. One desperately feels the need for someone to speak some sort of truth, either poetic or factual.
When I first was exposed to 'Porgy and Bess' many, many years ago, I was blown away by it - loved the music, overwhelmed by the production at the Met that I saw, and thought I want to play Bess someday. But I also knew they were stereotypes that were considered racist.
We were talking about urban youth. And by urban I mean lives in a city not urban as in black like white people use it.
So many people have gone to music production schools for years and years, and they've wanted this their whole entire life, and part of me feels like I've kind of cheated that a bit because I'm not grade A on piano, and I don't know a lot about production. But I do what I do.
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