A Quote by Varun Sharma

During college days, I started working with a line production company. — © Varun Sharma
During college days, I started working with a line production company.
When I closed the chapter, I'll say, in the book with TNA in 2013, literally within, it was under 30 days - it was 20, 25 days - I was already into a production agreement with a production company based out of Los Angeles.
In college, I interned at a production company and spent a lot of time on sets. I love music videos and felt I could be experimental and hone my craft in that genre, so I started there.
I started working at age thirteen. I'm a product of public schools, I'm a product of a public university. I started my first company when I was 21. I've subsequently never worked for anybody else. I started that first business when I was still in college.
At the end of the 1950s, I started working at a publishing company, Estudios Cor, as production manager, so returning, but not as an author, to the world of letters I had left some years before.
I started my first company when I was in my college dorm as a senior with two of my really good friends. We started a company that became SparkNotes.com. You know CliffsNotes? SparkNotes is a modern-day version of that.
Whenever I talk to people who founded a company, I often like to ask the prehistory questions 'When did you meet? How long have you been working before you started the company?' A bad answer is, 'We met at a networking event a week ago, and we started a company because we both want to be entrepreneurs.'
The social network will be the new production line in a company.
We have a great time on that show, and we enjoy one another's company on stage and off. And sitcoms don't have bad schedules. We started out working five days a week, but now we're down to three.
I've taken the leap of faith to stop punching the company time clock and start working for myself. I'm now the CEO of Starfish Media Group, my production company, in New York City.
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.
Trust is front and center in the working of this production, and it's conceivable there is a harder-working team of theater practitioners than the 'Cursed Child' company, but if there are, I'd like to meet them.
When I first started working on movies as a production assistant, we were shooting 65, 75, 85 days. I mean, granted some of those things were "Godzilla," "Deep Impact," and those kinds of things, but these days it's like 30-35 days or 40-45 days and you just feel like you're humping trying to get everything done. It's like "Move on, move on, move on!" That's not the way to get the best performances or the most interesting shots. You have to constantly balance schedule and quality of work. For me, that's the biggest thing.
I already have a production company called J Squared and we're working on two projects.
I started a production company - all female led, actually - called Freckle Films.
When I got back into the film business after college, I started out as a production assistant.
I started a production company out of necessity, the need for great narratives for actors of color.
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