It has absolutely no meaning to me to be an executive producer on a film that I have nothing to do with except come to the wrap party or the premiere on; it's just meaningless.
I am very filmmaker oriented, as a producer. I think the most important thing is that you have to really choose the players carefully.
You need somebody to have the idea, you need somebody who can deal with the studio and the normal things, but it's too different of a credit. That credit is usually given to the executive producer. It's not the producer.
One of the great things is, you're never a producer unless you're making a movie.
You have to be producing to be able to be called a producer.
I'll always be attached to telly in one way or another, whether it's a character or producer or director, I just love the medium.
I was an executive before I was a producer, and I've seen franchise fever grow, over the course of my career. The one thing that people always forget is that it's only a franchise if audiences really want to see more of it. It's up to them. It's really not up to us.
The director of the [Grimm] pilot called me in. I had worked on a pilot called Love Bites with him, and the producers I worked on with on Hot In Cleveland, so they knew me from comedic worlds, and they wanted someone who could be light too. Because it is pretty heavy.
When you're a producer or director, there's so much sweat that goes into any given project.
Actors can become very involved in a role, but for a director or producer, that's your life for many years.
Democrats have always wanted to grow government with revenues from our society's producers. They aren't sincere about reducing the deficit, because they will not abandon their addiction to spending other people's money.
We think of prices as simply the notation of how much we must pay for things. But the price system accomplishes far more than that. Hundreds of millions of people buying and selling, and abstaining from buying and selling, generate a system of signals - prices to producers and consumers about relative scarcities and demand. Through this system, consumers can convey to producers their subjective priorities and entrepreneurs can invest accordingly.
I get hired as a writer or producer and I do the best I can to bring out that artist. If somebody calls you to do something, you go right for that vision and you're aware of that person's vibe. You're trying to get inside of 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?
There's no great technical expertise in being a movie producer.
I think it's very important to recognize talent in all facets of filmmaking. Making a movie is such a lengthy and intense experience, so it's wonderful to honour actors, directors, producers and all crew members who put so much hard work and passion into a project.
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.'
Benny [Carter] opened the eyes of a lot of producers and studios, so that they could understand that you could go to blacks for other things outside of blues and barbecue. He's a total musician. He was the pioneer, he was the foundation. He made it possible for that doubt to be taken away.
A producer is a saboteur who tries to infiltrate the passivity of viewers and to create impressions that are lasting.
Any dramatic series the producers want us to take seriously as a representationof contemporary reality cannot be taken seriously as a representation ofanything - except a show to be ignored by anyone capable of sitting uprightin a chair and chewing gum simultaneously.
Being the executive producer of a film is not that difficult. It just means that you have some power. There's not a huge amount of skill involved, I don't know how much I'm giving away here. I feel like that guy on Fox, giving away the magicians' tricks. It's not rocket science, being an executive producer of a film.
I feel like... I don't have a wife, I don't have a kids, but... I see rappers and I'm like, I know that's fake. I know how much you make, this is all bullshit. But people are buying into it, and you shouldn't have that power. I'm legit trying to make honest moves so that all of us can grow. I want to make a show where my sister can work on and become a producer because she can't get in, no one's leting her. I want to make things where people can actually grow. A place where people can actually be honest.
Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I've been sending him information and items that have been useful to the writing process.
I like working with great talent, in every capacity. I have a rule of thumb, in any creative endeavor - whether I'm doing music and playing in a band, or working with producers, or directing - where I generally like to work with people who are smarter than me or better than me.
Because I've always aspired to direct and produce, I've literally worked with about 200 directors and countless producers, so what I appreciate is how, through osmosis and through actually asking questions and through people offering wisdom, there's a lot in there.
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