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.
People had been so attached to the Diane [Cheers] character that audiences and producers found it difficult to think of me in any other terms. It took some time before people would consider me for other parts.
Times of calamity and distress have always been producers of the greatest men. The hardest steel is produced from the hottest fire; the brightest star shreds the darkest night.
It's about finding what's next. I'm hesitant to let people know what producers I'm f---ing with, what I'm rapping about. I'd rather drop that winning hand out of nowhere.
Ultimately, I am very filmmaker oriented, as a producer.
I think that one of the greatest perspectives that I have, from being a buyer for my whole career until I became a producer, is that I have a pretty good understanding of the buyers mentality.
Horror fans are very passionate people, and they are very much into the 'Saw' thing. So they watch sometimes as carefully as the writers and producers do, in terms of the way the story plays out.
I never liked the whole thing about pictures with the artists. You look back at an Elvis Presley record, and you don't see any producer credits, because the audience is not supposed to know about the producer credit.
I suppose one thing that's always fascinated me is that thing where you're a band and you want to start recording and you get a label and a producer, and then there's that pressure to go out there and really toil.
For me, to take a movie and travel the world and go and work with these cultures and an international cast and have this spy thriller that's not just about character but also action and suspense, they're very challenging films as a producer to make, creating stories, creating set pieces that serve this character [Ethan Hunt].
I love film and I love the film business. And I don't think there's any better way, with my personality, than being a producer which is a little bit of a control freak.
I think that I'm a pretty great producer, but the vision behind Batman is Chris Nolan. I'm there to do my best to help execute that vision, and I think I do a really good job, but the vision is Chris Nolan.
What you realize is it's not about financial success as an artist. A lot of actors and actresses, producers, writers, and the creative people in the business realize that. It's not about that. Yeah, we all want to be successful, but we all just want to create and we want to tell the stories. We want to continue creating the opportunities to be able to continue doing what we love. So, at the end of the day, I feel like it's a win-win for everybody to be able to make these independent films.
I had written three books [Games of Throne], at that point, and each one of them was better than the other. At a certain point, as the books were doing well, I started getting interest from Hollywood, from various producers and studios who were initially interested in doing a feature film. I met with some of those people and I had phone conversations with some of those people, but I didn't see it being done as a feature film.
Executive producers don't have to do anything. Nor do any kind of producers. They just sit around on deck chairs watching stuff, and if it gets cold, they leave. Actually I suppose as a producer you've got to be involved in helping out with solving problems.
I know that the podcast is typically something I can do forever, because it's mine; it's just me and my producer and business partner, so it's our business.
If you read a part that you want to play, and you already know you have actors you want to work with but it's not on the page, it's not going to be on the screen. So that is the most difficult thing to do for a producer, is to get a script that attracts this kind of talent.
I don't think you should sit around and wait for people to give you an opportunity to express yourself or do your work, or whatever. Actors have to be producers and writers have to be producers.
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