I'm such a copycat."I want to try and do this like the Donovan song 'Changes'," or "I want to do this bit from Van Morrison." I don't know how else to illustrate something, because I'm not a super-great musician. In that way, I'm more like the producer.
In the earlier part of the 90s, I was really hell-bent on discovering how new technology works and how to make records entirely without a producer, which isn't necessarily what fans wanted. But I had to do it because I felt it was in my destiny or whatever.
For me able to do the records I want to do and not have to worry about this producer or that producer or that trend, I'm not really interested in that.
I mean, just like every other prominent songwriter or producer, you have the shot. You send in records and if they make it, they make it. If they get heard, they get heard. I'm not sure if you know how that circle of songwriting and producing works, but every time a big artist is working, everybody and their mother is in the studio writing records to try to get on it.
I started meeting the right people, like [producer] Dave [Okumu], who explained to me how songwriting is really simple - "just like shitting," he said. "You gotta let it all out." When he put it like that, however disgusting it is, it made a lot of sense to me.
I'm a producer in the old-school way - not just some slacker working on Pro Tools.
I'm 45 and I don't have time to spend two years of my life bringing in producers and dragging the record around the planet.
It's such a normal thing for a dance producer to make music and try it out in the club, but that was relatively new to me. I wanted to make a good album that felt like it had a point.
I feel like there's a young generation of producers who are taking inspiration from dubstep but trying to push it in other directions.
When I'm writing my album, it's totally my world. Even though it's myself and another producer creating the project, Conceptually it's more under my power and on my own terms. At the same time, it's a different type of pressure because I'm ultimately speaking, I'm solely responsible for the end result.
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.
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