A Quote by Nancy Wilson

In the case of Roadcase Royale, everyone in the band has a lot to offer as a writer and producer. — © Nancy Wilson
In the case of Roadcase Royale, everyone in the band has a lot to offer as a writer and producer.
I don't think of myself as a producer. In television, it's part of the business - if you progress and become successful as a writer, you're called a writer-producer. What that means is that you have a lot of say in casting and behind-the-scenes stuff. But I'm just a writer.
Earlier in my career, I needed to be the writer, casting director, set designer, leading man, and producer. I've been eliminating a lot of those jobs. I'm an executive producer right now. I still get to pick the best screenplays.
Everyone wants to be a writer, director, producer. I don't have the imagination for that, but, hopefully, I can continue to act.
TV is very much a producer and writer or creator-driven machine in the States. And I'm the kind of actor that needs to be pushed and have someone on my case a little bit, so I suffer from that.
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.
These days, everyone is a writer, producer and movie star. You post something on the web, get enough hits, and suddenly you have TV show.
I do not want and will not take a royalty on any record I record. I think paying a royalty to a producer or engineer is ethically indefensible. The band write the songs. The band play the music. It's the band's fans who buy the records. The band is responsible for whether it's a great record or a horrible record. Royalties belong to the band. I would like to be paid like a plumber. I do the job and you pay me what it's worth.
A lot of people still don't realize that, before Rascal Flatts, I was in a Christian band for four or five years, and I had the opportunity to work with some of the greatest pop musicians and producers in L.A. I learned a lot from Peter Wolf; he was one of my heroes growing up in the '80s. He was a producer of a lot legendary pop music.
Initially it was so important for me to be credited as a producer, play all these instruments and be the sole writer on everything. I think especially as a woman, you want to be taken seriously as a musician, as a producer.
When I'm not singing, I'm a lot of persons: I'm a producer. I'm a badminton player. I'm a writer. I'm a movie freak. I'm a documentary maker.
I write a lot of my own music. I usually go in with a producer, and every now and then there will be another writer in the room.
I'd be saying, 'No, I'm so not a DJ, I'm a producer.' But no matter how much faith you may have in yourself, until you have a hit you can't really run around telling everyone you're a producer.
The good thing about not speaking the language is you just listen. You listen to everyone, every producer, every writer.
That's what a producer does - make it better; help make the song better and make the band better. Not write music for the band or tell a band what to do. And Rick Rubin doesn't tell you what to do; that's why some people don't like him.
Tame Impala has two lives. One is the album, which is like a producer, and the other life is like a band: more of a live incarnation where we're basically a covers band for the albums that I produce.
I play a lot of instruments. I write all my own music. I spend hours and hours a day in the studio. I'm a producer. I'm a writer.
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