It’s good to remind intelligence producers and consumers alike about the need to ‘warn of emerging conditions, trends, threats and opportunities’ and the potential for discontinuities.
I really like scripted dramas. My favorite show of all time would have to be ‘Lost’: I loved how the writers and producers were able to weave the different storylines together; and the acting in that show was incredible.
I’ve met producers who are Christians and are producing secular shows. So much beauty and truth can be found in every – in every different show that’s there.
So many American and international producers want to shoot in the U.K. because of our crew base and tax incentives.
Producers and directors think they have the power, but what they think of as the weakest link, the actor, is all-powerful.
My childhood friends and I would have been featured in ‘The Achievers: The Story of the Big Lebowski Fans,’ but I never signed the release form we received from the producers. I am both proud and ashamed of this fact.
You can write ten versions of a scene, and then, on the day, discover that something in the original scene worked. It’s hard on writers. Hard on actors, hard on editors, hard on me, hard on the producers, who require patience and confidence. But I can’t get to the end without going through this process.
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?
Most cornmeal producers don’t tell you when their cornmeal was milled, which makes it difficult to know how long the product has been sitting in the store before you bought it.
Free Trade puts consumers at the centre of economic activity. It lowers the cost of imports, which gives people the opportunity to buy more with the same amount of money: domestic producers have to compete with the lowest global costs or invest in new business.
Producers generally don’t like me; directors do, generally. Convincing the producers is hard. They can’t see the commercial value behind such a face, nor would they get a commercial value, necessarily – and I don’t mean that in a good way or a bad way.
Furthermore, there is no good ethical or economic reason for asking workmen and current producers to forego all economic gain in order to increase the purchasing power of all the wealth accumulated in past years.
I really like funny women. I’m drawn to women like Tina Fey and Amy Poehler and Kristen Wiig, Amy Schumer. They’re writers, they’re producers, they’re actresses. They’re brilliant, funny, excellent women.
But I really am very active in the choice of the line producer with the producer of record and the distributing company, because I’ve had some terrible, terrible experiences with some line producers, particularly in cable.
The pressure is only from the producers and the labels. No composer, no singer would ever want to sing a remix.
I don’t think that a lot of my favorite producers or bands would produce our albums or even play on them, unfortunately.
Even in the early stages, you can tell who thinks you’re an idiot singing songs someone else has written for you. We never wanted to be two producers and a girl who wears some shoes.
I want to give producers more financial security.
Radio people can’t entirely shake off radio habits when they start doing podcasts. They sometimes bring with them things we don’t need, like producers and explanatory voiceovers.
Big producers trust the music directors. Small directors are insecure but like to experiment.
The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.
Promotions are a costly affair and most producers shy away from budgeting for that purpose.
Producers and studios know what sells. It’s nice to be one of the guys that can help sell a movie by taking his shirt off.
When I came down south and was put together with big producers, I always thought that they knew best. I never thought for a minute that they might have another agenda.
I like home recordings and studio recordings just as much as each other – I don’t think one is better – but for this record I wanted to see what I could do in a real studio with real producers.
I get a lot of love from Delhiites. My producers tell me that my films do really well here.
I could never work in that kind of commercial environment where the stars have a lot to say, where the producers kind of push you around and tell you who to cast and who not to cast. I’m just not interested in that at all.
Record labels and producers are not looking to change you: they are looking to make a star. And what they might think is a star may not be you.
I write my own songs. I made my own videos. I pick my producers. Nothing goes out without my permission. It’s all authentic.
I think that sometimes, as producers, we just service the artists who’s really just the main front or person. You know, our roles are really just to help them get where they’re supposed to go.
In most cases, I think most executive producers and studio executives really do their best to accommodate you. At least, that’s been my experience in most cases.
In the old days… it was a basic, cardinal fact that producers didn’t have opinions. When I was producing natural history programmes, I didn’t use them as vehicles for my own opinion. They were factual programmes.
All producers and directors want to make good films.
Being a director, just to begin with, is just, I think, one of the hardest jobs just because you have to work in every way. You have to work with actors, you have to be involved with the producers and the writing and the action. Every department comes to you; you have to deal with everything.
I always want to work with a good director who’s backed by excellent producers.
I was criticized a lot when I was singing in Korean. The producers and people from my agency would point out my accent and tones, and would tell me I sound too American to fit the local market.
A composer like me finds it impossible to work with today’s producers. They want to tell you exactly how to compose, which notes to play, which rhythms to put in which part of the song.
I do not like producers.
I don’t think I can speak of the achievements of Indian cinema because it’s so large next to me. It’s not stopping. It’s ever-growing. We are going towards the right direction. We are evolving as a filmmaking industry as actors, directors, producers, singers, musicians. Everybody just pushing the boundaries.
When you look at Apple News and where it started, I want it to be available to everyone. But we also want to make sure the news producers are legitimate… We’re very concerned about what’s news items and what’s clickbait.
I’ve always felt a very strong affinity with Jewish people. Over the years I find I’ve become very friendly with certain people I’ve worked with – actors, producers, whatever – and then two or three years later I discover they’re Jewish.
Everyone gets a raise when they do well. No one asked me what I got for my initial films. There was a time I got paid Rs. 6 lakh. I charge what producers are willing to pay me.
Marathi film producers conveniently blame the audience. If there are 70-odd flops in a year, there are a few that are hit because the same audience comes to the theatres.
If a Canadian novel hasn’t been a box-office success, say, ‘The Republic of Love,’ then producers are reluctant to try again.
The latest technology is not always good for anything except to the producers of the technology.
Since ‘A Dangerous Method,’ I’ve had meetings with everyone from J.J. Abrams to the producers of ‘Drive.’ And they all have the same thing in common; they say: ‘Wow you worked with Cronenberg.’ He gave me instant film cred.
The producers and I felt that ‘Kanchana 2’ would be the apt title when compared to ‘Muni 3.’ Because, it goes with the prequel and will immediately strike a chord with the audience.
Let’s start spreading work experience and opportunities a little wider so that the photographers, writers, and TV producers of tomorrow are drawn from a broader section of society.
The usual key to getting films made seems to be a producer’s terrier-like determination not to let it go. Unfortunately, such producers often seem prone to sinking their claws into mediocre projects.
I didn’t even know how to speak Hindi or act. I didn’t think about fame and money. I didn’t talk about money with the producers, as I was a minor. My parents handled that part. But I am from a family where money was never an issue.
The ill effects of thought come about when we forget that thought is a function of our consciousness… an ability that we as human beings have. We are the producers of our own thinking.
There are always discussions about casting stars in lead roles in theater – especially when you’re working with commercial producers – and it’s not something I’m against, not at all. But any casting has to be right for the project.
When Rick Ross made ‘Hustlin’,’ Rick Ross also helped those producers become some of the biggest producers in the world.
A lot of actors want to do a solo release, but not many people go and watch it. The more you work with different actors and producers, the more your work reaches people.
