When I came up, one of my favorite groups and producers was Three 6 Mafia.
For me as an actor, I oftentimes wish producers would take a chance and cast me against type, and they often don’t, so when you get a chance, you do it. At least I do.
Growing up, I’d never heard of any female producers or songwriters. I didn’t know you could be a girl and produce, which is terrible.
I think audiences, producers and directors included, develop crushes on actors (actresses in particular) and then lose interest and move on to the next one.
I followed this one pig with number ‘05049,’ all the way up until the end and to what products it’s made of. And in these years, I met all kinds people like, for instance, farmers and butchers, which seems logical. But I also met aluminum mold makers, ammunition producers and all kinds of people.
The Big Music Project gives young people access to producers, managers, set designers, artists and a load of other industry insiders who are at top of their game. It can be difficult to know where to start and this project gives young people who are passionate about music, knowledge and hands on experience.
For ‘Kabir Singh,’ an entirely original album had to be done and that’s how music should be made, but unfortunately that does not happen as the labels and the producers are more interested in fast food music.
Producers shoot movies where the tax incentives are.
It is economically irrational to exclude large environmental costs from the balance sheets of the producers and the consumers. You are only kidding yourself if you export those costs on to society as a whole.
When I played Bobby Fischer, my opponent fought against organizations – the television producers and the match organizers. But he never fought against me personally. I lost to Bobby before the match because he was already stronger than I. He won normally.
For me, always, the big inspiration really comes from talking with my creators, my showrunners and my producers, and seeing what is their vision for their project.
Electronics, samples and vocals are all fed into The Log.Os’ music, and a fresh take on soul comes out. The band’s songs splash around in the same gene pool as neo-soul artists like Erykah Badu, but they reach forward to pull ideas from glitch-hop producers such as Flying Lotus and Prefuse 73.
Definitely, I feel that there is a need for more female producers, directors, and writers.
Hart Hanson is one of the coolest, smartest producers I’ve ever worked for. He’s very open to ideas, he says no when he should, he says yes when it would work for the show.
There’s a constant dialogue going back and forth between the filmmakers and the producers.
The producers and writers of dance music are becoming the stars, not so much the DJs.
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.
Think of it: television producers joining with newspapers to tell stories. It’s journalism of the future. Advertising will follow the crowd – the ‘crowd’ being viewers and readers, of course, which could bring revenue back into journalism.
The producers of ‘Chernobyl’ should tell the truth: the accident demonstrates the relative safety, not danger, of nuclear power.
I don’t usually collab with producers, because I don’t need to. I never have, because I don’t want to break my style of how I do things.
Ethanol reduces our dependence on foreign sources of oil and is an important weapon in the War on Terror. By investing in South Dakota’s ethanol producers, we will strengthen our energy security and create new jobs.
I just felt drawn towards the kind of music that really needed a strong female presence female writers, female producers, female figures and that just kind of unfolded on its own.
Everyone talks about reality TV and that there are no roles left. That’s false. Years ago, there were three networks. Now there are 20 cable networks and so many ways for films to be exhibited. It’s an exciting time for actors, writers, directors, and producers.
I feel the producers really exploited my lack of talent at this time. I looked like an idiot up there. I want to be good, not something that people will laugh at.
For ‘Chapters’, I decided to let go of my insecurities, found myself some talented R&B producers, and worked with them.
In my general meetings, I certainly tell producers and executives that I’m interested in writing action films, but I think there’s still a very specific set of writers they look at. And I don’t think there’s a lot of female writers on that list.
I’m extremely proud I was born and raised in the Bay Area and loved representing Oakland. I started recording in the Bay Area and worked with a lot of different producers. But I always wanted to collaborate with different writers and get different perspectives.
‘Sicario’ was successful, but it was successful because Denis and the producers were, you know, they were very lean. It was very lean filmmaking.
We need a reasonable price where producers will not start nagging. At a reasonable price, we can invest to produce more oil.
I believe that those of us who are the producers and purveyors of television, I believe that we are the servants of this nation.
On a radio drama, I’d like to feel that I had just as much chance of playing Mr. Darcy as anyone else because I can sound like him, yet many radio producers find it very difficult to extend their imaginations to employing anyone who’s non-white.
There are so many artists, so many songs, so many producers, that it’s hard to keep track of whose music is worthwhile.
I had already been making music for my whole high school life, and ’10 Day,’ which took me a whole year to finish, was about working with a lot of different producers and learning all of the aspects about being a rapper, from shows to recording to studio etiquette to marketing.
The ‘Dangerous’ album has producers like Tiny, who to me is very special. Also, Luny Tunes, Nesty La Mente Maestra, Nelly La Arma Secreta, Haze, and El Ingeniero. I wanted to use everyone who makes music in Puerto Rico and beyond to have variety.
Almost always, when I’m on TV, the producers who call me, who negotiate what we’re going to say, is a woman.
In 2005, I played Count Fosco in ‘The Woman In White’ on Broadway. It was a disaster. I was physically run down and terribly homesick and I just knew I had to leave. I lasted three months before the producers released me.
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.
Obviously with the onset of cable and satellite, there are more opportunities for programming and original programming, so it creates more opportunities for actors and producers and directors and everything.
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 wanted to trust in my partners and the directors and producers and do the best I can to deliver what I could deliver.
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.
I know, it’s weird that I’ve never done a musical. I turned down two of them. ‘The Lion King’ and ‘The Producers.’ I turned two of the biggest Broadway musicals down, am I a mess?
Usually, new producers and writers want to put their stamp on a show. They don’t want to continue what’s working. They want to reinvent the wheel. It’s an ego thing.
So when it was my turn to start developing projects, I knew the writers I wanted to work with, and I had met every head of studio, every executive and a lot of producers. I started finding things, little crumbs off other people’s tables that I would make my own.
As more delivery systems for entertainment producers come on board, you have all these different formats where people are compensated.
You could name the great stars of the silent screen who were finished; the great directors gone; the great title writers who were washed up. But remember this, as long as you live: the producers didn’t lose a man. They all made the switch. That’s where the great talent is.
‘Strictly Sinatra’ became a compromise between me and the producers, and neither of us liked the results much.
A screenwriter heard me read from my novel ‘The Wishbones’ when it was still in progress and mentioned me to some producers in Hollywood. They called, and I told them I had a novel in my drawer about a high school election that goes haywire. They asked to take a look, and my life changed pretty dramatically as a result.
In the best of all worlds, the producers would take some responsibility for the kinds of things they’re putting out. Unfortunately, they don’t.
Producers have stopped hiring Blacks just because of pressure. They see there’s a market out there. The name of the game is money, and we’re making money for them. That’s all.
