California is our biggest economy. California is our biggest agricultural producer. So what happens here matters to every working American.
When St Genesius, the patron saint of actors, refused to act in a Roman play that ridiculed Christianity, the legend goes, the producers executed him. It reminds some people of Broadway today.
While the aesthetics of consumption (photographic or otherwise) requires a heroicized myth of the artist, the exemplary practice of the player-off codes requires only an operator, a producer, a scriptor, or a pasticheur.
My passion is becoming involved in good work, whether that means as an actor or writer or director or producer or all - that is not as important to me.
Once there are more African Americans and Asian Americans behind the scenes as producers, writers, and directors, I think more inclusive casting will happen.
We have access to more resources in general, and they are not going to force a situation on us, whether its the producer, or the cover, or what songs we have to play. And it's a small enough company that it seems like the people there care about music and not just about business.
When I came back to California in the early '60s I was hanging out with Jimmy Bowen, Phil Spector, and I wanted to be a record producer and work with other artists.
My love is new music, I tend to go and see a lot of bands, while [co-producer] Mark Cooper spends his time reading the press. It's often the new acts that strike a chord, because they aren't seen on other shows.
I mean that's my entire life right there. I re-evaluted everybody in my life. I narrowed it down to the people that really cared about me. And did away with everybody else. Just kind of distanced myself. Same thing with the producers.
When I do an album I try to find a producer that's excited about something that they want me to sing, and I check with the record company to find out what they think they can sell - which is their No. 1 priority.
The second album was like being on a completely different planet compared to when we were making the first album. ... Even though it was the same musicians, the same artist, the same studio, the same producer, - it felt like a completely different piece of a puzzle.
Our whole intention was to make a record of songs that we grew up with and change them up a little bit, but we kind of stumbled on writing "Joseph's Lullaby." The irony is when I originally wrote the song, it was called "Mary's Lullaby." I wrote it from Mary's standpoint and it was in a higher key, a real falsetto, and it just wasn't right. One day, the producer's wife said, "Well, it's kind of odd that you're singing from Mary's perspective, being the guy. Why don't you do Joseph?
My house got flooded in Los Angeles and completely ruined it. People asked how did your house flood on the hills in LA? It was a plumbing problem that the landlord didn't fix, so everything got ruined there. It's one of those things where you take the opportunity and run with it. My producers are here and we're working on the new album here, and I was here all of the time so it made sense to spend some time here, so we'll just see what happens. It's definitely very different.
Well a lot of females complain about getting into the business, like men producers always wanna get (in bed) with them before, but it wasn't like that for me, I was good from start so I had no problems when it came to recording.
I come from a musical family. My dad was in a group in the 70s, The Hudson Brothers. Now he's a songwriter and producer. So, I just kind of grew up with music and it was something I always knew I wanted to do.
When I met with Peter Angell, the producer of the CD, we talked about my idea to do songs that I loved and songs that I wished I had recorded. Peter suggested that we pick some songs and see how they work with you and try to come up with arrangements and ideas about how you might want to do them.
At the end of the playback of the take of "Like A Rolling Stone", or actually during the thing, Bob Dylan said to the producer, turn up the organ. And Tom Wilson said, oh man, that guy's not an organ player. And Dylan said, I don't care, turn the organ up, and that's really how I became an organ player.
The "Highway 61" album [of Bob Dylan] was produced by Bob Johnston if I'm not incorrect. And Bob Johnston was an entirely different producer than Tom Wilson. Tom Wilson had produced jazz records and was a Harvard educated.
Uruguay is one of the biggest producers of software. We are breaking with the neoliberal model. We do not believe in free trade.
I like the fact that I have two names because I find that in this industry you have to have dual personalities especially being a transitional entertainer, being an actor going into music. It's not that I'm pretending to be somebody else but it's just that the people that I act with, the Directors, Producers and Agents, can't really relate to what I talk about.
There was a certain moment. I was about 61 - two, three or four, and I got a script. And I sent it back to the producer saying - "I don't wanna do it. The part's too small." And he sent it back to me, he said, "You shouldn't read the lover. You should read the father.
These days, everyone is a writer, producer and movie star. You post something on the web, get enough hits, and suddenly you have TV show.
The Stones are not the kind of band that want to get in the details. That's why they have a producer and engineer - to pull the magic out of them and make them sound so great.
It's not like I just take the beat, rap on it and take it for what it is, I always have the producer send it to me, loop the track out, move some stuff around.
When I work, I'm the actor. I'm going to do my job. I'm not going to direct the movie. If I wanted to direct it, I would direct it. I wanted J.J. Abrams to direct Mission: Impossible. I work with people that I respect. I expect them to do their jobs, and I will do mine. And I am there as a producer to help in any way, but no one makes a movie by themselves. It's a collaboration.
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