I'm a producer first, and I know music, so I can jump on any song, whether it's pop or urban, without changing me. Whatever I do, I'm gonna make it classic.
Well digital media and social media are eliminating the middle man - in the old days, you had to go through the editors. Or the television producer, you know? Now you have people talking directly to each other, globally who have never met. I think you put the "word" in "word of mouth."
I'm a producer/rapper so I feel like I can do anything. I can do all kinds of music. I've done all kinds of music and I'm good at it.
I'm never uncomfortable with anything I do. I never feel like I regret anything. I love music. All kinds of music. I'm a producer first. I feel like I can do anything and still be myself.
I didn't graduate high school, so I never got a teacher's education, I'm mostly self-read, self-taught. I always loved music, so I would probably either be in a band with another group of people, or an arranger, a producer, a musicologist, a music history guy, something to do with music. Either that, or I would probably be in jail. Or dead.
I've never told anyone this, in an effort to run from my past and disguise it, I got rid of all of the scrapbooks my mother kept going back to when I was a baby. Truly. So that's why whenever talk show hosts or a producer asks for these pictures, there are barely any. My sister had a few, but that's it, and this was before digital. I've never told anyone that, but that's the truth.
What little reality television I've seen seems to be about economic desperation. Like the marathon dancing of the Great Depression, which should give us pause. People willing to eat flies and worms for a sum that is less than the weekly paycheck of the show's producer. I haven't seen "reality television" that is other than this kind of painful, sadistic exploitation of fit young people looking for agents.
Japanese animation tends to need high budgets. If I have a high budget for a movie, I usually make animation, but if the project has a low budget, then I would ask the producer to consider live action.
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.
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