Top 1200 Producers Quotes & Sayings - Page 20

I was doing this children's theater play, and it was non-Equity. We were out of town to do it at the Kennedy Center, and it was always kind of, 'Well, the producers may have to turn this into Equity,' and that's what happened. It was kind of a silly children's theater play, but that's how I got my card.

The oil companies are really making a very lucrative amount of profit from the high price of oil. I don't that they're very keen to reduce the price of oil. The consumers are those who are the victims so I think that the producers, the governments, some of them, they're enjoying the high revenue that they get.

Right now, there are a limited number of customers for Canadian oil. Due to simple geography - and without the pipeline - it's really only cost effective for Canadian oil producers to sell their oil to North American customers, mostly American Midwesterners.

The stressful thing about being an actor is, like, you have to kind of audition again and again and again, you know? You go in one time, and you go in again for a director and then again for producers and then again and again and again.

I don't live in Los Angeles. I work in Los Angeles, and even that - I audition in Los Angeles; I very rarely film in Los Angeles. I don't hang out with producers on my off-hours, so I don't even know what that world is like.

I have met vegetable growers who offer seasonal produce grown for taste rather than the ability to survive weeks in cold storage; meat producers who rear fantastic rare-breed pork, lamb and beef; and delis that stock local produce that will never find its way into supermarkets because it is not made in bulk.

One of my producers said this business is like a hamster on that little wheel thing that goes around and around. You may have a great day and get great ratings, but then you've got another show to do - whatever moment of success or happiness you have you've got to keep grinding it out for the next day.

Phone companies recognize that the pipes are not enough anymore. You need something to go through the pipes. You need content. I think the consolidation will continue. A huge development is mobility. We want the content where we are....producers need to be where the consumers want them to be.

I can read a crowd pretty well. I know what to play and know how to keep it interesting for them and for myself as well. Most of the other DJs are more like producers so they become famous because they make hits and then they start DJ-ing. But I'm more from the other way around.

Hallmark has been really, really good to me. It is very much like a family. I'm friends with producers here, not because 'maybe if I befriend this person they'll give me a job,' but because they're good humans and we became friends in the process of working together.

I'm pretty slapstick in my life but nobody sees that. You get typecast. I'm from New York and I have a sh*t-detector that's outspoken. I'm very streetwise and the producers detect that. So they get me on a movie and kill me. I go into their offices and I'm sure when I leave they say, 'You know, he'd be great to kill'. I've been killed every way you can imagine.

I've been singing for six years. I've been in and out of the studios with top producers, but it wasn't something I was ready to express to the public or to the press. I wasn't ready to come out. I wanted to perfect my voice and be 100 percent positive that I could come out right.

I want to be remembered as one of the illest, youngest cats to do it successfully and to keep doing it successfully. My early story alone deserves to be told, because at 6 years-old I was discovered by one of the best producers of all time, Dr. Dre, and I went on tour at 6, and appeared on Snoop Dogg's album at the age of 7. And I'm still here. Nobody else has a story like that, and it has to end great.

An actor is supposed to emulate life. Instead, alas, many are imitating other actors. You don't fashion your knowledge of theatre or your approach to a role on the basis of what other actors have done. This kind of thinking is a great danger, especially in dealing with TV producers who frequently say things like, 'This is a Sean Connery type.'

I've said this before, but after 'That '70s Show' ended, I solely wanted do films that inspire me, and to work with people who make me better. I wanted to just surround myself with people who I think are better than I am, whether they're actors or directors or producers, so that I could learn from them.

I want to challenge myself to see where my limit is and experiment with a lot of different films. A lot of artists from Asia focus too much on their Asian background. I don't want to let go of my background, but to be a success in the U.S., which is my goal, I realize I need to surround myself with American filmmakers and producers.

The lovely thing is, if Marvel had a Spider-Man movie over at Sony or something, they own the rights to the character, and the editors and producers make suggestions and get notes and things. But you're talking about Matthew Vaughn and Jane Goldman. They're two of the best people in the world. The notes are just things like, "This is absolutely brilliant."

Well, 'Crunk Rock' doesn't mean rock. Initially when I started the album, I did collaborate with a bunch of rock musicians and producers. But as I started to have time to free my mind and catch different vibes, it started to mean something different.

That is simple. In the Colonies we issue our own money. It is called Colonial Scrip. We issue it in proper proportion to the demands of trade and industry to make the products pass easily from the producers to the consumers. In this manner creating for ourselves our own paper money, we control its purchasing power, and we have no interest to pay.

Ron Paul would have demanded that entire departments be shuttered – not that the bums merely bring into balance what was stolen (taxes) with what is squandered (spending). Besides, what a balanced-budget requirement implies is that government has the constitutional right to spend as much as it takes in – that government is permitted to waste however much revenue it can extract from wealth producers.

In L.A., if you're in improv, and you're on those stages, all the big agents and managers and producers are watching those shows. They're not flying to Chicago to see the show. People are booking jobs off the stages in L.A. who aren't more talented than the guys in Chicago. But the most guys book out of L.A., and the second is New York.

I think women have always been funny. But when Tina Fey became head writer at 'Saturday Night Live,' the culture shifted, and women gained a bigger voice in comedy. It's not as if Hollywood producers are feminists. It's more that Hollywood said, ''Bridesmaids' made us so much money, all we want now is funny women.'

Basically, I'm one of the greatest producers ever. And I'm also one of the greatest DJs ever. And I'm also one of the best executives ever.

I have years of saying ideas that are not listened to. Then, weeks after, of producers finding out that I was right when some other guy comes in and says it. Sometimes I just tell my idea to my editor or to some other guy with maybe gray hair to share it, and then it's brilliant!

The hip-hop aesthetic and the way it's produced always motivated me. Alongside that I was still wanting to make great traditional songs because I've never had any desire to rap. My love of hip-hop is driven by my love of rappers, but it was built out of my love of producers.

I think all musicians and producers, they know the real goal is to come up with a record that is entertaining and not boring, that's the goal. I think if everyone agrees that that's the goal then it doesn't matter who's the band and it doesn't matter who's the producer. It just means that that you try to realise the ambition no matter what the situation is or who the people are.

The kids today have these fresh faces. It's like they're on pins and needles, waiting to see what I'm going to do. They've never seen me. In the 1960s, those were hippies. They were wired up already. The kids today know me because I've worked with Jeff Tweedy and other young producers.

We know how to work certain toys, and if you've got something in your head you know how to get in on tape, even if it's got an abstract sound to it. We are kind of producers as well as a band, so we're a self-contained unit. We can produce our own record as well as write it.

As the run-by-capital society of producers turned since into the run-by-capital society of consumers, I would say that the main, indeed "meta", function of the governments has become now to assure that it is the meetings between commodities and the consumers, and credit issuers and the borrowers, that regularly take place.

I think it gets really dangerous, though, to do it on the show. I think that the writers and producers are very much aware of that and the dangers of putting characters together and what that can mean for the show. You know, it's possible it could kill the thing that holds the show together, the chemistry, sexual tension between the two characters.

I definitely made friends with the people I like to write with, but I'll also write with people I haven't met before or producers I haven't met before because how are you supposed to make those friends without trying?

When I got signed to the 'Fader' Label, they got really excited about having me as their new artist. They were promoting my music everywhere. Pharrell was one of the producers who wanted to work with me, so I was really lucky to be one of those people who got to work with him.

There's more movies now than ever, and competition for the entertainment dollar. These movies aren't recouping the way they used to. These little producers used to make something for a million, and get on a roll. One would finance the next. They crap out eventually, but then they go start a new company. But these guys just aren't getting to first base.

I remember reading an article about this idea of borderline personality disorder, which is reality producers try the find people who are sort of flamboyantly anti-social in these certain ways, because what happens when you put them around other people is they drag everyone down to their level. I feel like I`m watching this disgraceful race to the bottom.

I knew about the music. I got that part but I wanted to know the business, I wanted to know about royalties, how people got paid, producers and stuff like that so I read all those books like twice.

I love America. I eagerly became a citizen. I have no bitterness toward those casting directors who dismissed me because of my accent, nor toward the producers and directors who wanted to cast me but thought the audience wouldn't accept my accent. I think they're selling their audience short.

I love writing with really experienced producers and co-writers who open my mind to things I never would have thought otherwise. We may think the same way about something, but they might say it in a way that I never would have thought to say it.

I have so much to grapple with, I don't think too much about me. People call it the "dance of a thousand egos" when you make a movie. If only I had time to worry when I was making a movie about what the hell I was doing. It's sort of a marathon every day. And then at the end of it, you beg the producers for five more marathons.

Go on writing plays, my boy, One of these days one of these London producers will go into his office and say to his secretary, "Is there a play from Shaw this morning?" and when she says, "No," he will say, "Well, then we'll have to start on the rubbish." And that's your chance, my boy.

The bottom line is that I'm an actor, so when somebody pitches me a great part, it's a no-brainer. You never know what it's gonna be like, in terms of the actual experience. You can be really excited about a part that can turn out shitty, you can have a bad time, there's a bad egg or two or three, in the bunch, or the producers are weird, or something like that.

More customers for Canadian oil means that Canadian producers can charge more for their oil, which then means that American businesses and consumers will pay more for oil.

Well, the 'Giuliana & Bill' show is a little bit different because Giuliana and I are the executive producers of the show, so certainly we have a lot of control and we have total, I guess if we wanted to, editing power, but I will say, in the seven seasons we've done the show, we've never used our executive producer powers to cut something out.

David Zucker was great! Those guys are funny. I mean, they are funny. There's a wonderful thing about doing that kind of work like Superhero Movie: You have to be real, but you also have to get the laugh. There you are, your director and the producers are right there at the monitors, and you either get the laugh or you don't. And so you just do it until you get the laugh.

Kylie Minogue is just a demonic little idiot as far as I'm concerned. She gets cool dance producers to work with her for some bizarre reason, I don't know why. She doesn't even have a good name. It's a stupid name, Kylie, I just don't get it.

I'm character-driven. If it's a great character and something different; because I find that a lot of the times you do get pigeon-holed, you do get the same characters over and over again because that's what producers are comfortable with. They've seen you do it, they know you can do it. I'm kind of getting a little stir crazy.

I like working with great talent, in every capacity. I have a rule of thumb, in any creative endeavor - whether I'm doing music and playing in a band, or working with producers, or directing - where I generally like to work with people who are smarter than me or better than me.

I was reading a Time magazine interview with an author named Brené Brown. She said, "People that fail seem to ultimately do the same thing they think works over and over again." I had an epiphany and called my manager and started a creed with my producers. I promised we'd do whatever was best for the song and the album - no ego would get in the way.

Working on 'Laguna' was great because just being in production and shooting stuff and having to go back and relive some things, and there were some lines here and there that the producers would want us to say, and just kind of, you're forced to recreate moments, and just working on the show was so much fun.

Even if America tomorrow - and it won't happen overnight - but if we did reduce our demand for gas and natural gas and crude oil by a significant degree, that does have an exponential effect on producers in the Middle East, everything else being equal. But if China's demand is growing and India's demand is growing, they are not going back.

I think that what 'Oz' did is it spawned a great generation of television production. But people know its place in television and just in great dramas. It's the foundation of my career. Most producers, show runners, directors, and casting directors put me in movies based on my performance in that show.

I've been watching more American TV because of all the great TV series that have come out in the last five to 10 years. I'm a 'Sopranos' fan, I'm a 'Wire' fan, I'm a 'Mad Men' fan. I'm a 'Deadwood' fan. It makes me optimistic for the future of storytelling on TV that producers are willing to take that kind of jump.

I don't work for the commercial success of the film. I work to satisfy my producers who give me the money. I work to satisfy the director who has written a script for me. Of course, I have to satisfy the actor in me, but I want to satisfy them first.

Working on 'NYPD Blue' and '24', those two series, I did full runs on those. It's great work, but everything has to align. The producers have to want you; the network has to want you; there has to be great writing; and it's not as easy as it may appear to the outsiders to make all those things align.

I was not part of the golden age of the record industry, when musicians and producers were making real money. So I have no nostalgia about that time and I enjoy trying to build a new economy, a more humble one. And since I expect to sell only niche music, I feel quite solid, in this little economy. I know we will not become rich with this, but this is not the goal.

Twenty years ago, there were dozens and dozens of independent television producers. There are a couple now, at the most. Mark Burnett, Endemol. It's gone. Everybody works for the Man now. And it's natural law, how that happened: Nobody prescribed it, but it's how things worked out and how it has been for decades, period.

I like working together with different producers. Of course the process is different, producing a new track is like creating something all new, while reworking an already existing track is more like giving your own twist to the record.

I love celebrities, and I love the concept of fame, but it took me getting fame to realize that it doesn't exist, which was kind of a bummer. Fame is great if you're not famous, because it seems like this elusive impossible dream world. And it's not. It's a fancy word that managers and producers make up so they can keep hawking you for more money.

I had actually sent an audition tape for Simon Pegg's movie 'Hot Fuzz,' which came to nothing. Four years after the film released, out of nowhere, I got a call saying the producers of 'Game of Thrones' wanted me to play Hodor after they had seen that particular tape.

The thing about hip-hop producers, and the thing about hip-hop musicians, is that we listen to everything. And we're inspired by everything. I'd say even more so than any other genre of music.

Right now the producers of 'Modern Family' have no idea how many people watch our show each week on all platforms, and nobody seems to want to tell us. If a disproportionate number of any show's viewers watch in alternative ways, then, under the current system, that show may not appear to be as strong as it actually is.