Producers Quotes

I've been singing for six years. I've been in and out of the studios with top producers, but it wasn't something I was ready to express to the public or to the press. I wasn't ready to come out. I wanted to perfect my voice and be 100 percent positive that I could come out right.

I could hire every producer in Hollywood - 2,000 producers, let's say - and they couldn't come up with all the soap operas, in season and out of season, that NFL programming gives television.

I was in a commercial when I was three. My godfather was a director and a producer of commercials. He took me in along with his kids and I couldn't remember my lines. I giggled my way through the commercial and they kept it.

My role as a producer is very specific. It's maintaining the creative truthfulness, day in and day out.

Horror fans are very passionate people, and they are very much into the 'Saw' thing. So they watch sometimes as carefully as the writers and producers do, in terms of the way the story plays out.

My son is a hip-hop producer.

One of my first films was Zebrahead. I remember the producer asking me, "Can you handle the big lights?" And I thought, Do I want to be sarcastic, or do I want the job? So I said, "I don't handle the big lights, I just tell big men where to put the big lights and they do it."

Then instead of introducing Dre as the guy from N.W.A., Jerry Heller would say Dre was my producer! Dre would come to my interviews with me - he'd come to all these places that would never have had the guy from N.W.A. Wasn't it genius?

I love acting and I hope I'm fortunate enough to get good, interesting roles and I hope directors and producers will keep giving me the opportunity to act as I really love doing this.

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.

I just started asking my friends if they had noticed. None of them - feminists, mothers, daughters - noticed until I pointed it out. Then I decided to bring it up within the industry. I knew a lot of people, so I'd say, "Have you ever noticed how few female characters there are in kids movies?" when I met a director, a producer, whatever. And they said, "Oh, but that's not true anymore."

When I was a producer, the fun of the show was waking up with a hit and enjoying the period after the show opens. The fun of a director stops the day it opens. No matter if it's a success or a failure, it's not a whole lot of fun anymore.

I'm character-driven. If it's a great character and something different; because I find that a lot of the times you do get pigeon-holed, you do get the same characters over and over again because that's what producers are comfortable with. They've seen you do it, they know you can do it. I'm kind of getting a little stir crazy.

In this day and age, if you're aspiring to be an actor, and you're putting all your eggs in one basket, you could be disappointed. I started out as an actor, but I forced myself to be a writer, even though I wasn't very good at it and had never written. I don't think I ever passed an English course in my life. My first 8 to 10 scripts were pretty horrendous, but I stayed at it until I eventually found a voice and a subject that people were interested in. So, I recommend that you go out and try to be as versatile as possible: writer, actor, producer and especially director.

Being a producer is a very different experience than writing my own songs.

Many people are under the delusion that I'm just a special-effects man, but I've worn many different hats in my day. On every film I've been involved in, I worked with the writer and producer. We really formulated those scripts. We tried to make films that were logical but still had the fantasy feel of it. I enjoy Aardman Animation's films with Wallace and Gromit, but they're obvious puppet films, whereas we tried to disguise it and make our effects characters in the films rather than obvious puppets.

Authentic marketing is not the art of selling what you make but knowing what to make. It is the art of identifying and understanding customer needs and creating solutions that deliver satisfaction to the customers, profits to the producers and benefits for the stakeholders.

The main producer [of CSI: Miami] Ann Donahue - I believe that is how she started - and then we have one other man on set but that's just his job although I haven't seen him this year. So maybe they figure we have it down somehow.

I think it was just part of the storyline [in CSI: Miami] and the producer called me beforehand and said, 'Listen, I am going to kind of do something with your character that looks like she might get fired, but I just want to reassure you that we're going to have you back,' and I thought, 'Oh god, I hope that is true.'

We are the necessary element since we expend nothing. Management can create its own capital -- the profits. Its business would grow and profits increase. Labor would prosper as well, while the price of the product would remain constant, the prosperity of industry, labor and management would continually increase. We Jews glory in the fact that the stupid goy have never realized that we are the parasites consuming an increasing portion of production while the producers are continually receiving less and less.

Well, a lot of politics is communicating with people, and obviously comedy has something to do with that. I've been a producer and led people. Also, being a comedian, you're under pressure.

I kept talking to my producers at Columbia about recording one of those [prison] shows. So we went into Folsom on February 11, 1968, and recorded a show live.

Not at all, I wanted to go into medicine. I took science in college. But my dad was a Producer - Director in Kannada films, and someone saw me, and one thing led to another.

I grew up in a theater family. My father was a regional theater classical repertory producer. He created Shakespeare festivals. He produced all of Shakespeare's plays, mostly in Shakespeare festivals in Ohio. One of them, the Great Lakes Theater Festival in Cleveland, is still going. So I grew up not wanting to be an actor, not wanting to go into the family business.

Back 20 years ago, I was recording with Bruce Springsteen, and his producer called me and said I had to be in the studio the next day to finish the sessions, and I couldn't. I had to be in court, in California. All this took like 10 years out of my life.

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.

Jimmy Page is an excellent producer. Led Zeppelin I and II are classics. As a player he's very good in the studio, but I've never seen him play well live. He's sloppy. He plays like he's got a broken hand and he's two years old. If you put out a good album and play like a two year old, what's the purpose?

Marlee has said a million times, "Wouldn't it be funny if there was a camera trained on the two of us?" because we get involved in some very interesting situations. We'll be on a plane and she gets handed a Braille menu because they think she is blind, or producers that turn to the director of a show she's on and say, "Marlee Matlin is great, but is she going to be deaf for the whole show?" She used to freak people out with the speaker phone in her car by having me sign what they were saying on the speaker phone and then she would speak herself.

Invention, my dear friends, is 93% perspiration, 6% electricity, 4% evaporation, and 2% butterscotch ripple

Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.

The hardest thing, as a producer, is to find a director who does the picture for all the right reasons, and not just because they know it's successful or that they can do a good job, but in their bones, they love that genre.

The bizarre but all too common transformation of the woman artist from a producer in her own right into a subject for representation forms a leitmotif in the history of art. Confounding subject and object, it undermines the speaking position of the individual woman artist by generalizing her. Denied her individuality, she is displaced from being a producer and becomes instead a sign for male creativity.

Back in the day, even if they were singing about the same things, each artist was unique. That's why I try to stay away from the big-name producers, so I can prove that it's not about the producer, it's about the artist. A lot of R&B artists have gotten away from being artists and are just chasing after the next hot producer and it all starts to sound the same.

The fastest way to become the master of your thoughts and emotions is through challenging situations. If your life is going along fairly smoothly, there are not the same opportunities that enable you to strengthen your power and become the master of your thoughts and emotions. You see, even challenges are beautiful opportunities in disguise.

When you're a writer and you're a producer, traditionally the junkets are really focused on the beautiful people and nobody wants to talk to you.

If you look at the whole world now it's just computer games, graphic novels, film, TV spinoffs, spinoffs of spinoffs like Deadpool spinning off of Wolverine. So I think that any kind of smart producer looks at all of those bases. Once it comes down to the integrity of it audiences are very smart, they smell that they're just kind of being played.

It's a tremendous way of getting people to buy more at lower cost to the producer. There's no question that that's an incentive to buy. Everybody loves a bargain.

As a producer or financier, you are going to go where you get the best bang for your buck.

I read the Phantom comics when I was in Australia shooting 'Dead Calm'' and when one of the crew told me that there were plans for a movie, I went for it. That was in 1987 and I told (producer) Graham Burke I was going to be the Phantom. We had a laugh about that recently because you usually get what you deserve, not what you desire, and that is especially true in Hollywood!

Focused will is incredible. If you have a dream and you don’t give up no matter what obstacles come up, then life’s problems will fall away and you will get what you want. It happens. It works.

I've never been poor, only broke. Being poor is a frame of mind. Being broke is only a temporary situation.

After becoming established as a surfboard manufacturer and surf film producer whose films were shown on TV, all of a sudden all the teachers and counselors who wanted nothing to do with my ass during school were wanting to kiss it. They'd be interviewed by a newspaper of magazine and their tone would change. 'Oh yes, I knew Greg Noll. He was in my class. Fine, upstanding young man.' What bullshit.

If you have more negative things than positive things in your life, then something is very wrong and you know it.

I think with a lot of producers, they think computers can create the best drum track, or guitar track and it comes off as too artificial.

Some tourists think Amsterdam is a city of sin, but in truth it is a city of freedom. And in freedom, most people find sin.

An actor is supposed to emulate life. Instead, alas, many are imitating other actors. You don't fashion your knowledge of theatre or your approach to a role on the basis of what other actors have done. This kind of thinking is a great danger, especially in dealing with TV producers who frequently say things like, 'This is a Sean Connery type.'

I just think it's weird that Donald Trump wants to be an executive producer of a TV show while he's President of the United States. I agree with Newt Gingrich. He doesn't have to do that.

Someday hopefully it won’t be necessary to allocate a special evening to celebrate where we are and how far we’ve come…someday women writers, producers and crew members will be so commonplace, and roles and salaries for actresses will outstrip those for men, and pigs will fly.

Although the great frustration about this [role] is the fact that there's one thing Maigret never does, and that's drive. He's always driven, or he takes the train, or he gets the bus. I was saying 'Well, why don't we ring the changes for the 21st Century, and stick him in the car?'. [Executive Producer and son of the author, John Simenon] said, 'Well, you can if you want, but there'll be lots of people who won't like it'. So he's a non-driver ... But no, Top Gear was never a consideration for me; and neither was I asked

The most valuable commodity of the 21st century will be undivided attention.