When I want to make a creative work, I still have producers of marketing houses dictating to me how I should make a creative video and what sells! If I face that problem, I can imagine how difficult it must be for the rising generation of artistes to find sponsorships.
Often, American audiences are underestimated by producers and movie studios. They often think we’re dumber than we are.
In England, there’s a lot of people producing their own work and becoming producers and filmmakers, so they’re not constantly waiting around. It can be very scarce for work, so it’s important to create the work.
It’s hard being a woman in this industry, period. A lot of the time, guys make you feel like you need to hook up with them – especially as an artist – producers and other artists trying to collaborate with them, they make you kinda feel sometimes you need to hook up with them or flirt with them just to make a song.
At a time when U.S. jobs are heading overseas at a record pace, and amidst increased sanctions on our manufacturers and producers from other countries, it’s imperative that we do all we can to provide our businesses a climate to operate successfully.
When I did my first Hindi film, ‘Sargam,’ I had to play a dumb girl. Critics went to town saying that since I was a south Indian and didn’t know how to speak Hindi, producers of the movie decided to make me play dumb.
The Producers Guild represents the creativity, innovation and dynamism that sets our industry apart from all others.
Directors, producers can make you look good or make you look bad.
I think most producers and MCs are constantly in this competition, but it’s usually with yourself. It’s usually wanting to be innovative: wanting to catch yourself when you’re doing the same thing or throwing out the same art you’ve already done.
It’s funny – some producers ask me, ‘Man, how do you work on a Bieber record? That would kill my career.’ I can work on any record there is as long as they are good records and you’re pushing things forward.
As a director, I’ve wanted to have adventure in my life, creative adventure. I think it’s partly because I grew up, basically from age six to 26, mostly on television series where the producers find something that works and then do it over and over and over again.
I don’t think the subject of a documentary film should be producers on it.
I never had any problem with my producers or directors.
Our role as producers is mainly limited to borrowing money from friends when we run short of cash.
For me, I always had producers come to me with films, even if it was not like the Khans, but whatever I have got I have tried to give my best to it.
A lot of producers cookie cut movies one after another, but I’ll be a little more careful, and have the opportunity to be, because I have the acting career to subsidize the producing.
I’ve just gained so much confidence in the booth since the ‘Sit Still Look Pretty’ era. I’m working with really talented producers and songwriters who bring out the best in me.
Instead of giving all your best tracks to artists, producers now have the opportunity where we can take our favorite beats we make and put our favorite artists on them and release fun songs for people to listen to.
As producers, you always have to go with the flow and be ready to embrace change, and drama and whatever happens.
I’ve had lengthy discussions with European farm leaders. It is clear they have an agricultural strategy to support their producers and gain dominance in world agricultural trade. They’re gaining markets the old-fashioned way – they’re buying them.
When I walked in to read with Edie Falco, it was nice, because I auditioned in New York, and it was very quick. You walk in, there’s Edie, the producers, the director, and a camera. I read three scenes, and it was done.
It is nice to be out there, amongst contemporaries on a global scale. You meet different people, see different things, meet different producers, eventually grow to collaborate in different ways. The world is getting smaller. It’s nice not to be insular.
If Rajamouli is the brain and heart of ‘Baahubali,’ the producers are its skeleton, holding everything together, and the fans are the blood. Rajamouli deserves all the laurels, but he’s so modest that he diverts all of it towards his team.
As producers, we can influence where the budget goes, but only the director really controls what tone, what type of movie you are trying to make.
‘The Producers’ is my favorite movie, and my favorite performances of all time are Zero Mostel and Gene Wilder, and I feel like I strive to be a combination of those two guys.
I don’t understand how other producers who have no experience making a musical jump in and produce one.
Most people when they rap usually have their homies in the studio who rap with ’em, but they homies don’t usually be producers.
There are a lot of producers who basically have their sound, and if the artist works with them, you almost know what the record’s going to sound like before it comes out.
A franchise gives a sense of security to everyone – the director, producers, exhibitors, and even the audience feels that they are watching something close to the first part.
If someone tried to take the hierarchy thing too seriously – for example, being lovely to producers but moaning to runners about the tea – that would not be accepted on ‘Harry Potter’; someone would pull you aside and have a word.
I spend a lot of time talking to young and emerging producers on Twitter, feeding back thoughts and encouraging them.
The only time producers fed me lines on ‘Laguna Beach’ were more fake phone calls or pickup scenes. We’d film for nine months out of the year, and then they would start cutting episodes together, and they would realize that they needed a specific scene.
I have an amazing team; I have amazing producers; I have amazing writers, but at the end of it, it’s me making the decisions on the writing, the tone, the editing.
I owe much of my success to Seann Walsh. He kept recommending me for Live At The Apollo until eventually the producers offered me a gig.
I’ll never get sick of zombies. I just get sick of producers.
Making African American films are hard in Hollywood. We need to rely on a support network and bring more cohesion to different filmmakers, actors, producers etc. It’s a very difficult business. There aren’t a lot of Africans Americans or people of color in high positions in Hollywood that we can green-light films.
‘Hellraiser’ was what ‘Hellraiser’ was. It was a $900k movie, and there wasn’t anything I would have done differently. But ‘Nightbreed’ was taken away from me. It was thought that its meaning wasn’t… Its meaning didn’t chime with the producers.
I thought that the fashion world could be a bit fake sometimes, but it’s nothing compared to Hollywood. These girls would walk over their grandmothers’ graves to get a part, and the producers talk about actresses like they’re dirt, picking over every part of them so that they end up paranoid and having surgery.
One likes at the point of production to realize the maximum value, and diamond producers are no different.
I’m re-teaming with the producers of ‘Twilight,’ whom I love and who I have an amazing relationship with.
It is very difficult to convince producers about a script without having the backing of a star.
Producers have a tendency to put you in a pigeonhole: ‘What does this white, middle-aged preppy know about 1960s Kingston?’
When you want to make a film abroad, you need producers and people who support you. You need a team that speaks your language.
Sports like sailing, rowing, and bobsled have long vexed spectators and television producers.
For a producer, you want to be in L.A. You want to be close to the action, and in L.A. there are always singers, artists, songwriters, collaborators and other producers. It’s easy to get access to all that, which gives you more opportunity to work records.
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.
I don’t use producers, I am the producer. I use an engineer as a tool, vicariously.
I didn’t knock on any producers’ doors for work.
The truth is, for some absurd reason, no one is willing to admit that the interests of the producers and the theater owners are not the same.
For some producers who are technical-minded, making the song sound good is easy, and getting the emotion into the song is harder.
Because of ‘The Birds’ and ‘Marnie’ I was, as the expression goes, hot in Hollywood and producers and directors wanted to hire me.
I never played politics, I was never a party girl, and I never slept with any of the producers.
I had to take over the reins of the company at a time when I did not know a thing about the business. The producers who were committed to work with my father wanted to back out because they felt I would not be able to sell their film’s music the way my father did.
There’s actually a lot of producers that I like to listen to.
The ‘Degrassi’ producers were very supportive. They sent me flowers when I got ‘The Vampire Diaries,’ and then as soon as it premiered and got the great numbers that it did, I got another large bouquet of flowers from them.
