A Quote by Pusha T
I didn't come in as a writer that found producers, I came in under producers. So I've always respected the actual production process and producers in general.
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Everybody's trying to hold onto some shred of dignity in the process of it all, and, at the same time, never talking about how they don't have the power. No one has the power. So, you know, producers - we always think, "Well, producers are very powerful," but producers don't really have the power.
Our power creates collective production in the service of the people and the revolution, destroys exploiting production, transforms individualistic producers into producers integrated into the collectivity.
I've always felt that most jazz artists don't need producers .. most jazz artists know what kind of sound they want. They don't need a producer to come in there and tell them, "Oh, I think you should do this." I've always found it very strange that there's been such a thing as producers in jazz.
Most of the producers don't know what they do. The misconception of the producers' function is really not a misconception. Most producers don't do a very good job.
I didn't feel comfortable as an executive. I felt comfortable around artists and record producers... and then I found my niche: I gotta find great producers, and I produce them.
Producers - we always think, "Well, producers are very powerful," but producers don't really have the power. It's the appearance they might, but they don't. Even the actors don't. Even the studio heads don't, because they're beholden to this corporation and what the corporation wants. So no one really has the power, and everybody's trying to get through the day, and everybody's nervous and desperate.
I think when it comes to television as opposed to film, the producers really are the writers. We work with people who are purely financial producers.
It just burns my heart that there's such a massive discrepancy in the number of male producers in the industry, versus female producers.
The people who've done well within the [Hollywood] system are the people whose instincts, whose desires [are in natural alignement with those of the producers] - who want to make the kind of movies that producers want to produce. People who don't succeed - people who've had long, bad times; like [Jean] Renoir, for example, who I think was the best director, ever - are the people who didn't want to make the kind of pictures that producers want to make. Producers didn't want to make a Renoir picture, even if it was a success.
This country lacks the backbone and the spine and the will to demand fair trade and stand up for our products. If our producers can't compete, shame on us. Then we lose. But requiring our producers to compete when the game is rigged, saying our producers ought to compete, when foreign markets are closed to us, is fundamentally wrong.
I don't think you should sit around and wait for people to give you an opportunity to express yourself or do your work, or whatever. Actors have to be producers and writers have to be producers.
Nic [Cage] is more than just a fantastic actor. He will get your movie made. The first thing that we did is that we went to producers and there were a lot of great producers.
One of the reasons the producers' credit has been so weakened in recent years, and given to people who didn't deserve it, was that people didn't understand what producers did.
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.
With 'Suffragette,' I was emboldened that there were so many women around me. We had a female writer, producers, production and costume designers.
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.
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