As an independent artist it is so easy to get caught up in websites, social media, merchandise, when I am going to put out an EP, fining a producer, finding a studio to record in and you have to remember at the end of the day you should be writing music.
For me I always need to have two sides to me when I play! I need to be a performer and at the same time the producer. So I need to be somewhere up in the air and producing my music. I can't just be the performer; otherwise I can't see the whole view. I need the big view!
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.
The oil companies are really making a very lucrative amount of profit from the high price of oil. I don't that they're very keen to reduce the price of oil. The consumers are those who are the victims so I think that the producers, the governments, some of them, they're enjoying the high revenue that they get.
That's the only interaction I have with people, those talking shows. Most of the people in my phone book are artists, management, producers, engineers. I don't ever call people with, "Hi! How are you?" I say, "How are you? Do you have that 16/30 ready? When do you want me to come into the studio?" That's what I do.
Julian Fellowes doesn't come to the set, except maybe once every six weeks, for whatever reason. He's not a producer, in that sense. But if you write him a one-line question, he'll write you a three-page answer.
When you go out to make something, you want it to be great. You need to put a bubble around that, so no one can get into the force field and change what you're setting out to make. That's all us being producers is doing, is allowing our power to protect the integrity of what you're doing.
I think very often producers are really trying to repeat things. When they hear something in the new songs that they recognize as being a bit like something that was a success on a previous record, they're inclined to encourage that.
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 had written eight drafts of the Lemony Snicket' screenplay when this changing-of-the-guard thing happened, and I said to the new producers, "I don't think I could write any more drafts." I guess I was sort of hoping they would say, "Well that's okay, this last one is perfect." But instead, they said, "It's funny you should say that. We don't think you can write any more drafts either."
It's just unfair that talent of color aren't given the same opportunities as white and male actors, directors, producers, writers, et cetera.
If Hollywood is the global producer for [media] products all around the world, that's of concern. If all audiences around the world know of America is what they see from Hollywood, then we're in trouble.
As no cause remains without its due effect from greatest to least, from a cosmic disturbance down to the movement of your hand, and as like produces like, Karma is that unseen and unknown law which adjusts wisely, intelligently, and equitably each effect to its cause, tracing the latter back to its producer.
As a producer, you've got to be involved in helping out with solving problems.
The key to the success of any producer is to have a great team around.
The producers like to keep people guessing and keep them on the edge of their seats.
An old pop music producer once said that there are really only four kinds of song a person can write: "I love you/I hate you/go away/come back!" That's a funny observation.
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.
I learned to choose my battles. Sometimes I let my producer deal with something that I didn't want to deal with.
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.
We are a nation that has always gone in for the loud laugh, the wow, the yak, the belly laugh, and the dozen other labels for the roll- em-in-the-aisles gagerissimo. This is the kind of laugh that delights actors, directors, and producers, but dismays writers of comedy because it is the laugh that often dies in the lobby. The appreciative smile, the chuckle, the soundless mirth, so important to the success of comedy, cannot be understood unless one sits among the audience and feels the warmth created by the quality of laughter that the audience takes home with it.
There is no reason products and services could not be swapped directly by consumers and producers through a system of direct exchange – essentially a massive barter economy. All it requires is some commonly used unit of account and adequate computing power to make sure all transactions could be settled immediately. People would pay each other electronically, without the payment being routed through anything that we would currently recognize as a bank. Central banks in their present form would no longer exist – nor would money.
I know I can't do everything myself. So I know I specialize in my melodies and I do some of my demo work. I pass it on to my producers who are much better at the production level
Consumption is the sole end and purpose of all production; and the interest of the producer ought to be attended to only so far as it may be necessary for promoting that of the consumer. The maxim is so perfectly self-evident that it would be absurd to attempt to prove it. But in the mercantile system the interest of the consumer is almost constantly sacrificed to that of the producer; and it seems to consider production, and not consumption, as the ultimate end and object of all industry and commerce.
When I auditioned for 'Wedding Crashers,' the producers had never seen any of my other work except for Bond. I got 'Wedding Crashers' partly because I was a Bond girl.
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