A Quote by Marcel Carne
The problem is that to be a producer, one must be a gambler, and the greatest French producers were gamblers.
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The producer is at the center of entertainment. The producer is being forgotten, and producers must seize the center of activity.
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.
Producers are not gamblers. They want a good return on their investment.
Where were all the women gamblers? It wasn't as if being a woman wasn't a huge risk all by itself. Twenty-eight percent of female homocide victims were killed by husbands or lovers. Which, come to think of it, was probably why there weren't any women gamblers. Living with men was enough of a gamble.
He was a degenerate gambler. That is, a man who gambled simply to gamble and must lose. As a hero who goes to war must die. Show me a gambler and I'll show you a loser, show me a hero and I'll show you a corpse.
I actually became a producer because I saw the producers getting all the babes. They were stealing them from the guitarists.
It can really vary from movie to movie what the producer's role is and there are all kinds of producers. There are line producers who do a lot of the nuts and bolts work on the set.
Most, actually, German actors have like some speaking of French. So, the French wasn't the problem. But, I was having a problem with them doing my dialogue in English. And it wasn't a matter of fluency.
For all the sophistication of GPS, there still remain numerous problems with their use. The most obvious problem in this context is the problem of landmines. For example, when the French troops went into Kosovo they were told that they were going to enter in half-tracks, over the open fields. But their leaders had forgotten about the landmines. And this was a major problem because, these days, landmines are no longer localized.
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.
Prosperity and abundance in a society depend on a certain type of person: the producer. Societies with few producers stagnate and decay, while nations with a large number of producers vibrantly grow-in wealth, freedom, power, influence and the pursuit of happiness.
Back in the day, even if they were singing about the same things, each artist was unique. That's why I try to stay away from the big-name producers, so I can prove that it's not about the producer, it's about the artist. A lot of R&B artists have gotten away from being artists and are just chasing after the next hot producer and it all starts to sound the same.
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.
The vast majority of our film producers are independent producers who live hand to mouth trying to get projects made that they love. They are not owners, they're not money people, and in fact, those who just have the money don't always get a producer credit.
Phil Ramone and Quincy Jones were very close. Phil Ramone was one of the greatest record producers of all time. I don't know if they talk about him enough in the film, but he produced [Frank] Sinatra, Barbra Streisand, all of Billy Joel, Paul McCartney - Phil Ramone was one of the major record engineers and producers.
Of course the French are making very credible movies and it is still one of the greatest nations in terms of world cinema but the real problem is the decay in film criticism.
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