I know I can’t do everything myself. So I know I specialize in my melodies and I do some of my demo work. I pass it on to my producers who are much better at the production level.
I believe that experimenting is what production is. But it doesn’t mean much if you don’t have a solid foundation in what you’re experimenting with. You can’t really deviate from music unless you know music; it’s not gonna work.
Think of all the mesquite in Texas, the pinyon pines, the acorns in Appalachia, every place has the possibility of mass production. It’s an infrastructural system so nestled in ecology, it’s a more beautiful ecology.
The first step to optimising testosterone is eating right. That means cutting out the processed junk food and focusing on high quality proteins, carbs, fats, and an abundance of fruits and vegetables. Don’t fall into the ‘low fat’ eating trap, as this will seriously inhibit your testosterone production.
While filming ‘The Matrix,’ we studied how a Chinese fight-choreography team trains actors before production starts so that they can participate in action sequences in a more dynamic way.
You go see a great production of ‘Romeo and Juliet,’ where those kids are full of life and love, you hope and forget.
Before I’d even started doing music or having opportunities with my own music, I was studying production and business and stuff anyway. I knew there were so many jobs within the music industry – songwriting or session playing or working at a label – and I was really interested in how it all works.
On the speech day, the production designer, who has a lot of say in things, and sometimes I didn’t agree with him but I had to do what I was told, wanted the speech day to be all in neutral colours for the women, which was a good thing.
I had seen the ballet of ‘Swan Lake’ as a child but it was as an adult, when I saw a production featuring Erik Bruhn, that I first noticed how significant a part the ever-present threat of violence played. This juxtaposition of great beauty and grace with a backdrop of pure evil stayed with me for years.
Most artists have contracts directly with the record company, and when they do music, all of their music is owned by the record company. But I did mine through a production company.
Stories come from other shows at other studios where only 2,000 rounds were actually used and the money for the other 3,000 went right into the studio pockets. Corners were cut and that production suffered. Knock wood, that hasn’t happened to us.
As regards the individual nature, woman is defective and misbegotten, for the active power of the male seed tends to the production of a perfect likeness in the masculine sex; while the production of a woman comes from defect in the active power.
Working for Disney for the last eight and a half years, people come and go – production staff and actors. I stepped onto the sound stage and it was a literal time warp.
Modern sociology is virtually an attempt to take up the larger program of social analysis and interpretation which was implicit in Adam Smith’s moral philosophy, but which was suppressed for a century by prevailing interest in the technique of the production of wealth.
Any good production team is going to allow an actor to breathe life into the characters – that’s why they hired that woman, that man, whatever the case.
What started it all was the Kanye album, ‘My Beautiful Dark Twisted Fantasy.’ We started listening to that and just fell in love with it, fell in love with his production style.
By the immediate preservation of eggs for home consumption through the use of water glass or lime water, larger supplies of fresh eggs may be made available for marketing later in the season, when production is less and prices higher.
I’m actually surprised how technical a lot of commercial wine production is. Things are done very much from an industrial chemistry point of view at certain price points, but that’s not the impression you get with wine.
The most effective step that may be taken to increase the production of these crops is to enlarge the acreage devoted to them in the regions where they are grown habitually.
I am but one member of a vast team made up of many organizations, officials, thousands of scientists, and millions of farmers – mostly small and humble – who for many years have been fighting a quiet, oftentimes losing war on the food production front.
I want to do Hindi films, but a proper one and a good production. I’m even open to multi-starrers because those work better in Bollywood. But it should be with only Bollywood technicians, not the South Indian team. There’s no point to my going to Bollywood if I work with the same artistes and technicians.
Production for movies or TV is very painstaking and slow.
In the southern half of the country perhaps no crop has larger possibilities for quick increase of production of food for both men and animals than the sweet potato.
Russia’s oil fields are mature and require capital and Western technology even to keep production flat.
If I do a play, it’s my vision, and everybody else is working on the production to support that. If I do an opera, I feel like part of my job is to support that composer, to try and create something that allows the composer to do his or her best work. In movies, it’s usually the director.
Since the dawn of Louisiana’s modern-era film program in 2002, we have played host to more than $6 billion in film and TV production. We’ve developed an infrastructure that supports thousands of jobs, boosts small businesses and communities statewide, and provides a powerful impact that we seek to retain.
I don’t know the law, the kind of law of quantity and quality, but I think the opportunity of people being able to express themselves and to have the means of production is a great thing. It’s also changing how we’re telling stories.
I have chosen to keep my personal life separate from my music, as the two are exclusive from each other, and I want to remain that way. I’ll talk music, production, writing songs, touring with anyone but keep religion, politics and world affairs off the table, as my expertise is in songs and music.
Now it’s a fully realized production but for the fact that we’re holding our scripts in our hand and some of us used them, and some of us didn’t and you have to by union rules hold the script. You don’t have to use them but you gotta hold them.
The big difference is the size of the crew and the flexibility of shooting because of the size. I mean, it’s crazy. So you can’t improvise, you cannot suddenly do something that comes to mind, whereas in a small production you have much more flexibility.
I still remember my dismay in the summer of 2007 when – for the first time in the history of planet Earth – America’s share of auto production dropped below 50 percent.
One of the nicest things I ever read about our show was that a critic felt ‘Boardwalk Empire’ could be the beginning of the blur between television and cinema, because the production values are so high and the storytelling is so compelling.
The first syndicating I tried was when two partners and I created a production company in 1952. We wanted to syndicate famous Bible stories and sell them for $25 a show.
Macbeth is a very popular play with audiences. If you want to sell out a theater, just mount a production of Macbeth. It’s a short play, it’s an exciting play, it’s easy to understand, and it attracts great acting.
Like many works of literature, Hollywood chooses for its villains people who strive for social dominance through the pursuit of wealth, prestige, and power. But the ordinary business of capitalism is much more egalitarian: It’s about finding meaning and enjoyment in work and production.
From the 1970s, there has been a significant change in the U.S. economy, as planners, private and state, shifted it toward financialization and the offshoring of production, driven in part by the declining rate of profit in domestic manufacturing.
Women account for about 70% of Africa’s food production and manage a large proportion of small enterprises. They are also increasingly represented in legislative and executive leadership positions.
When I was 12, I played the Artful Dodger in Cameron McKintosh’s production of ‘Oliver!’ when it came to Toronto. Just getting the role shocked my whole family, and I don’t think I realized until then just how much I loved getting up in front of people and performing.
My identity has everything to do with me and my instrument. It doesn’t have to do with what production style I use, or how many people played on it, whether it’s sparse or grandiose or whatever. And I’m social, frankly.
Sometimes the odds are against you-the director doesn’t know what the hell he’s doing, or something falls apart in the production, or you’re working with an actor who’s just unbearable.
Consumption is the sole end and purpose of all production; and the interest of the producer ought to be attended to, only so far as it may be necessary for promoting that of the consumer.
Once I get out onstage, it’s the same sort of basic production that it is anywhere else. But I might be a little bit aware that there might be people I know out there, who wondered where I was.
I think my own strengths are in television production.
As a boy soprano in the high school choir, I later sang a solo during the carol service at Canterbury Cathedral, but I was too young to secure the Freddy Eynsford-Hill role in our production of ‘My Fair Lady’ – and far too timid to have thought to audition for it.
