All my career, I've said this: Critics and producers think audiences want actors that only present the silhouette and hit the points in the silhouette. What I do is too dangerous.
When I'm on a picture, I have two bosses - the director and the producer. My co-star is not my boss.
I spend a lot of time talking to young and emerging producers on Twitter, feeding back thoughts and encouraging them.
The beauty of having a producer is that you have someone who says, You're finished.
The line between producers, songwriters, and remixers is so thin.
I have dreams of being a producer, being behind a camera, eating seven tacos for every meal, and making movies that affect people the way they affect me. I don't even need to be in them.
Studios are an assembly line. They can be a very good assembly line. As a producer, you concentrate on one project at a time. As an executive, you're in charge of a slate.
I am convinced that in the arts, committees are useless. What is necessary are people like Karajan, [fellow recording producer John] Culshaw and me; we know not only how to achieve the best artistic results but how to attract the public and carry out the whole operation with carefully chosen collaborators. Democracy is fatal for the arts; it leads only to chaos or the achievement of new and lower common denominators of quality.
Directing is the last frontier for women in the movie business. We are studio heads, we are producers and we are writers, but we are not directors in any numbers.
Real movie producers arent this nice.
I'm camera shy. I don't necessarily like being front and center. I'd rather not have my face all up in everything. I'm not trying to be some mysterious producer or anything like that.
I do get offered a lot more roles than I choose to do. I'm very busy as a producer and a writer, especially with my Internet stuff, and I tend to only accept the roles that I know will have an impact and has a fanbase.
If I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
If you happen to have a spare $100 million floating around, then you're my producer.
All producers encourage you, whatever it is, to make it more-so. If you've got a joke, can it be funnier? If you've got an action sequence, can it be more exciting? That's the nature of being a producer.
The action star's life is very short. Back in Asia, I can do whatever I want to do. I'm the producer, I'm the director, I can do so many things, but in Hollywood any time I present a script they say: "No, no, no, Rush Hour 3, Rush Hour 4."
One thing I've learned as an actor as well as a producer is to trust my own instinct. When I first started acting I would sometimes have ideas about certain things, whether it's a scene, or a character or certain dialogue, that wouldn't be followed. I was never in a position to have the power to press the matter. Sometimes it wasn't even about my character. But I'd watch the movie afterwards and think I was right.
As long as I have a studio with producers, I can make something everyday. And the people know what type of quality it's going to be.
I am not a rock producer. I don't see that. I once turned down Guns N' Roses. I don't like shouting. I'm a melody guy. I love great melody.
It's dangerous for one actor to advise another one, especially when you're not in charge. On the set, I'm never gonna tell another person, "Here's what I think you should do." That's a discussion they should only have with the writers, producers, and directors.
[The producer told me:] "We can try one more record, and we'll see how that one does." Those records never did anything. My music never got mentioned. My color got mentioned.
To switch lads and lassies from quickie ceremonies back to the catered works in to-be-worm-only-once white dresses, the [wedding] garment producers have turned to sociology. Through statistics as carefully laid out as a bridal train, they are establishing a correlation showing a higher divorce rate for the informally gowned.... They may just have something there.... If a bride has sunk a bunk of savings into a dress she can't use again in a second wedding, she might think twice about having a second.
Go on writing plays, my boy, One of these days one of these London producers will go into his office and say to his secretary, "Is there a play from Shaw this morning?" and when she says, "No," he will say, "Well, then we'll have to start on the rubbish." And that's your chance, my boy.
All industries are brought under the control of such people [film producers] by Capitalism. If the capitalists let themselves be seduced from their pursuit of profits to the enchantments of art, they would be bankrupt before they knew where they were. You cannot combine the pursuit of money with the pursuit of art.
Children in the 21st (century) have been transformed from net producers of their own toy and play culture, to net consumers of play culture imposed by adults.
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