What turns me on about the digital age, what excited me personally, is that you have closed the gap between dreaming and doing. You see, it used to be that if you wanted to make a record of a song, you needed a studio and a producer. Now, you need a laptop.
After all, at end of the day, when you're breathing your last, it's not your producer, director, or cast mates by your bedside; it's your children. Keep that in mind.
On Belle de Jour, the producer was very protective. It was very hard for me.
TV is very much a producer and writer or creator-driven machine in the States. And I'm the kind of actor that needs to be pushed and have someone on my case a little bit, so I suffer from that.
No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.
A vocal producer is very important, and it's a very important component of an overall successful and good-sounding record.
It's lovely being a producer. It's really a lot of fun and I can learn a lot.
Originally a record producer more or less hired a bunch of professionals to participate in a recording session, the performers and the technicians, and a music director was put in charge. That directly related to a film producer's job.
I don't even know what a traditional producer is or does. I feel like the job is like being a coach, building good work habits and building trust. You want to get to a point where you can say anything and talk about anything. There needs to be a real connection.
The art is what can't be put on a timeline. You can't say, 'Well, I'm going to make a record in May because that's when the producer has a window.' So just recording and getting things out is paramount for me.
I'd like to get out of here without having to talk to the producer.
I like working with other people but I'm not a songwriter, I'm a producer.
'Battlestar Galactica' executive producer Ronald D. Moore told Tor.com that the series finale of 'Battlestar' turned out exactly as he'd intended, but there were several alternate endings that were considered before the final version was produced.
It was the worst moment of my life. The producer came up and talked me back into going on stage.
One of the reasons I am successful as a producer is that I've been a very successful housewife.
I think that being a producer is business and being an actor is art.
Before I joined The Beach Boys, I was working at Columbia Records as a producer, and saw The Byrds come in and do their first overdub before Terry even met them.
The usual key to getting films made seems to be a producer's terrier-like determination not to let it go. Unfortunately, such producers often seem prone to sinking their claws into mediocre projects.
I don't think there's anything wrong with not knowing how to play an instrument, but the rise of the non-musical producer has done away with musicianship and focused attention purely on the song's hook.
The beauty of having a producer is that you have someone who says, You're finished.
I thought that it would be easier to learn that if I worked in motion pictures. So I went to work with one motion picture producer who was developing a color system. This didn't do to me much good. All I did was pick filters for the camera.
Acting has been my first passion, and turning a producer was a natural progression.
Dan Curtis, our producer, has the idea that people like to see a stock company of actors.
The ladder of success in Hollywood is usually a press agent, actor, director, producer, leading man; and you are a star if you sleep with each of them in that order. Crude, but true.
I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.
No support of one star or one director or one producer can make any individual actor a star. You have to connect with the audience; the audience have to like you. That is something that cannot be manipulated or fought for or tried for. Either they like you, or they don't.
At a party in L.A., I met this middle-aged gentleman who I was talking to for ages when I asked, 'So, what do you do?' Turns out I was speaking to legendary music producer Quincy Jones, who worked on Michael Jackson's hits. And there was little old me rattling on - I was so embarrassed.
Let me tell you about being executive producer. It is not a job, it's a title. Don't go around asking executive producers what they do because they don't do anything, alright?
I think of myself as a producer. As a producer and as a showrunner, I already understand what it meant to gather people into a room and step back, to create the boundaries of 'everything's okay' to allow TV writers to go to their craziest places.
The difference with doing a play is that you are in control. In film you are in the hands of the director and the editor and the producer.
Jerry Weintraub, the producer, might be a pain in the ass, but he really knows how to treat his actors.
For a director and a producer to be named on the writing credits is practically unheard of.
Today I divide my day between being actor, producer and distributor, and the monotony is broken.
My college training was primarily in theatre, with an eye to becoming a director, actor, or producer.
And 'Sex & Drugs & Rock & Roll' was a very transitional film for me in that I was one of the producers and you know, came up with the idea with the writer and the producer, as well. But, it was a very collaborative event. You know, I really love working in that way.
On a practical level I'm a TV producer and storyteller who's gone about as long as you can go without achieving a mass audience.
