I also have experience working with American producer Roger Corman who knows a lot of secrets in making movies look bigger than their budget.
As a producer, I try to bring as many nice people as I can to insure that there's no screaming, there's no shouting, there's no bullying. The more of those kind of people that you can bring together, the better the experience everyone has on set.
What you learn when you direct a film, even more so than as a producer, it's a marriage. It's like a relationship with that film so you've got to make sure that it's really something that you want to live with for three years or however long it is. So I haven't found the right thing to marry yet.
I had thirty weeks of prep on 'Captain America.' I have a small team of qualified, supportive, creative producers who are actually helping me achieve my vision of the film. I had a dream cast headed by Chris Evans. I had the best designers, artists, sculptors, craftspeople.
Once you become a producer, you're really selling something. It is a control issue, because you don't really know how it's going to pan out, but the creative control makes it work it.
Eventually, I want to be a creative producer that isn't in things. The acting is more of a secondary thing for me now.
In L.A., if you're in improv, and you're on those stages, all the big agents and managers and producers are watching those shows. They're not flying to Chicago to see the show. People are booking jobs off the stages in L.A. who aren't more talented than the guys in Chicago. But the most guys book out of L.A., and the second is New York.
I guess the producers saw me and knew I was literate and I always tried to be alert and it's funny because you have to have a sharpness to do those shows, especially some of the ones I did in later years.
My dad always, he helped me by not helping me. He always said, being a producer, it was all about conviction.
Not many French producers work the American way. In France, the director decides everything, he has final cut. I'm trying to do things differently, without the Luc Besson solution.
I traveled the world as a DJ, as a singer, as a songwriter, as a producer.
Superman was never previewed because the producers didn't trust Warners with the film.
We started with Denny Cordell, and he was a great record producer. He knew exactly how to take a band that knew absolutely nothing, and guide you without trying to tell you what to do.
Marty Richards is an angel on Earth. A producer that does what he says he'll do. He helped me greatly.
I've known the glory of the stage and the glory of the spotlight. I still crave it. I want to be on 'American Bandstand' and 'Soul Train' as a solo artist. As a producer, songwriter and arranger, I help other artists say what they want to say. But on my records, I say what I want to say.
The answers to the human problems of ecology are to be found in economy. And the answers to the problems of economy are to be found in culture and character. To fail to see this is to go on dividing the world falsely between guilty producers and innocent consumers.
For any producer I've ever worked with, their toughest job is to convince me to not to obscure my vocals. A lot of people don't like the sound of their own voice on, like, cassette tape or something. It's like that for me, and other songwriters I know. Like, "Oh God, that's what I sound like?"
In producers, loafing is productive; and no creator, of whatever magnitude, has ever been able to skip that stage, any more than a mother can skip gestation.
Since man does not create physical matter, those who handle material objects in the production process are not producers in that sense. Economic benefits result from the transformation of matter in form, location, or availability (intellectually or temporally). It is these transformations that create economic benefits valued by consumers, and whoever arranges such transformations contributes to the value of things, whether his hands actually come into contact with physical objects or not.
There can be to the ownership of anything no rightful title which is not derived from the title of the producer and does not rest upon the natural right of the man to himself.
We're in an era where the demand is for immediate hits that are destined to become obsolescent. Six months later, everyone forgets the artist and the tune. It's become like a con job. Producers, engineers, lawyers and accountants all make money, but the artists don't.
If you are looking for a producer, try to contact established producers. Don't let the fear of theft paralyze you, or you will never get anywhere with it.
Granted, the writers, directors, producers, and that community make a great deal of money. But they might be choosing to do a whole lot of other things for the living they make.
You can't make theater happen without actors. The actor is the central ingredient in making theater happen. Audiences may come to theaters to see the work of stage managers, directors and producers, but the only people who can communicate theater magic to audiences, through ideas and emotions, are the actors. They are the only ones who can communicate this by themselves, and if necessary, they can get along without you. But you can't make theater without the actor.
The cast, staff, and crew of a live theater work together toward a common goal: a good performance. Thus, theater is necessarily a group effort. However, it is never a group effort of vague fellow committee members, but of associated autocrats-a playwright, a producer, a director, a stage manager, designers, and, above all, actors. Each accommodates the others, and may overlap others in function when necessary. But each autocrat assumes distinct responsibilities and accepts them completely.
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