I was the only person at Univision who had complete creative control of my own show, by contract. They didn’t like that. I was the executive producer; I owned the studio where we taped. I decided who went on my show and who didn’t.
As a producer, I’m quite nurturing, I like working with inexperienced, unseasoned directors.
The idea that America, whose oil production has been declining for the past 40 years, is now on track to become the world’s biggest producer by 2015 is still hard to grasp.
You sit there waiting for the RED LIGHT to go on. You could be sitting there for five minutes, waiting, while the producer talks to the engineer. Then the light goes on you know that you mustn’t make a mistake for at least 4 minutes.
I had set a goal of being a producer by 25.
When I’m hired just to be an actress, I don’t have to worry about anything else but showing up on set, making sure I know my lines and making sure I know what I’m bringing to the character. When I’m a creator and executive producer, I have to worry about the whole thing.
Whether you’re an actor, producer, writer, or director, it’s all about the story you’re going to tell.
When you’re working with a producer, there has to be chemistry.
Carefully execute every instruction given to you by the director, producer, and studio. But that would be a life not worth living.
I still listen to a lot of the classics from Bob Dylan and John Martin, but I love electronic music as well. I’m a big fan of an Australian DJ and producer called Flume, who I think is incredible. He should be more successful in the U.K.!
Your job as a producer is to make suggestions without putting your ego in front of everything else. Also, I think you want to focus on that artist’s best qualities and really highlight them.
C Kalyan has been amazing and totally committed as a producer.
I’m not a superstar, per se… but I’m a musical creator – a producer in the same vein as what Quincy Jones was, or Pharrell and Timbaland were.
I didn’t go into the theater to be a producer, I went into the theater to be a director.
I enjoyed playing the dual role of an actor and producer.
I had people who said I was a brilliant producer but I wouldn’t get on the news because I was too northern. But there was no way I was changing my accent – it is the key to my identity.
If a thing is going to represent you, your vision, you should be involved in every aspect of that thing. I like my role as executive producer on anything probably as much as performer.
But we were doing plays and movies which I had nothing to do with other than being a producer, and I don’t have that kind of interest or time any more.
I’m a very hands-on producer.
Judd Apatow is pretty good, both as a producer and as a director.
It is an entirely selfish decision to turn producer because I want my kind of cinema to last and flourish, and helping young filmmakers make those kind of films is the best way to do it.
Oh, she just happened to be a friend of the producer’s. Or, oh, they’ve been trying to get her from the beginning and she just had a spot open up. There are always little loopholes, so I don’t take anything personally anymore.
Jessie Wallace was the first time I erupted. She was late, she was young. She’s not like that any more. I lost my temper. It was silly and I burst into tears and ran up to the producer. I said I had been terrible and amateur.
It hasn’t really made it easier getting film work. It’s not like I can call up a studio or a producer and say – insert haughty voice here – ‘It’s Parker. I guess you might know me as the indie queen. I’m wondering if you have any projects for me to be in.’
Navigating the studio system has its own challenges, and, as a producer, you want to be astute and clever.
The re-releases have more than doubled the amount of Led Zeppelin work out there. I wanted it done authoritatively, ’cause I was the one writing the stuff; I was the producer and mixer. I don’t think it’s any more weird than writing your autobiography.
As a producer and director, I’ve tried for years to get properties off the ground for girls, and I’ve been hitting a brick wall.
It’s really interesting to just look at the career of a musician and a producer that went into many different genres and many different styles and many different places but always breaking the barriers between genres and at some point reinventing himself all along the way but also inventing things at the same time.
As a director, I’ve been able to combine with what I’ve learned as an actor and as a producer: it melds quite nicely into what I feel like I should have been doing all along.
I don’t think there’s any show that really escapes it: It’s very rare that a creative producer stays with the show. As soon as the producer leaves, they cut the budget.
I only got to be able to act, because I gave myself a job as a producer.
My son is a hip-hop producer.
Years ago, Barry Diller asked me to be a judge on a pilot for an inventor show on USA, and when it was over, the producer, Ken Mok, took me out to dinner and really got me talking. It was a long dinner. Afterward, he said, ‘One day, I’m going to write your movie’.
If you’re always waiting for a producer to hire you… your chances are really, really small. I’ve been knocking on doors and asking for a job for many years, and my career really changed when I decided to create my own material.
I’d do a demo recording by myself, layering instruments on top of one another, and while that’s fun, it doesn’t have the same impact as getting some great players together in a great studio with a great engineer and producer, then waiting for the magic.
I am extremely thankful and grateful to Dhanush and Wunderbar Productions. It’s a blessing to work with them because he is a non-interfering producer.
For making music for myself, I just need to be happy. I’m the producer, the director, and the listener.
Part of the advantage, and part of the result of trying to be a producer and director, are the practical things, you find. It’s so advantageous to go to a place that you already have a feel for, a literal and spiritual familiarity.
I do a lot of co-writing with my producer RedOne, and then a lot on my own. I just like to be creative.
‘Ice Age’ felt like stage acting. You’d write a sequence, and sometimes you’d submit pages, but other times, I would actually perform it for the directors and producer in my office.
It’s understanding the intention of a composer that allows a producer and an arranger to make those moments speak.
I’m just a simple television and film producer who started off from her garage and whose only idea was to tell a story.
Yes, we are a producer of cameras, but we understand that at the end of the day, you have to make photos in software. A lot of companies focus on the camera side, and a lot are on the software side. There’s a chasm between the two.
I’ve been accused of being unambitious, but what I do takes up every minute. I’m executive producer, I’m a writer and the host.
Since I met Starsmith, my producer, I really feel like I’m making music because we write it together and produce it together. I’ve got a proper involvement in the end product as opposed to just writing a song and finding someone else to produce it.
My grandfather was a movie producer, and so I grew up on movie sets.
People will go through 50 beats from a producer and pick the best ones, go make a song on that beat. That’s cool, but someone coming to me and hearing what I’ve been working on, picking out pieces of all of that, and then adding some of their own ideas is way more exciting.
I love Sarah Jessica Parker; I’ve worked with her. I think she’s amazing… She’s a great producer and has a great business acumen.
As an actor, I was often shielded from the big-picture decisions. But as a producer, I experience all the conversations where there’s pushback or a difference of opinion.
I really didn’t even pick producers. I just picked beats, except for Dre – he’s the only producer I knew I wanted to work with.
The fact is Jerry Weintraub, the handsome, bearish movie producer, the man with the long career, who worked with Arthur Godfrey and Elvis Presley and Frank Sinatra and George Clooney, is a great storyteller – he’s this as much as he’s anything else. He takes time telling stories, too.
I like to entertain people according to what they’re saying entertains them. As an artist, musician, songwriter and producer, I sit back and hear it, and… if that’s what y’all like, I can do that.
I’m a studio rat. I like going in there as producer.
Every actor, director, and producer want all their films to do well. So you choose the role carefully, listen to the script, and work hard. But there is no way of predicting whether it will be a hit or a flop.
I love Deadmau5 as a producer, as a person. He’s super interesting. He’s very funny to follow on social media. But as a producer, he gets every single credit I can give him. He’s nuts.
I played a paraplegic on a show called ‘Neighbours.’ Just turned up on set, sat in a wheelchair. The producer came up to me one day and said, ‘We have to cut around that entire scene because your leg was moving.’
You know, when you’re a producer, you’re a bit of a lackey. You’re just making cups of tea and making sure they’ve got newspaper, stuff like that.
