Quotes About Production

One of the worst things you can do is have a limited budget and try to do some big looking film. That's when you end up with very bad work.

The wonderful thing about theater is that it has so many people involved in the creation of it. The worst thing about theater is that it has so many people involved in the creation of it. That dynamic is thrilling and challenging every time you make a show.

Throughout the industrial era, economists considered manufactured capital - money, factories, etc. - the principal factor in industrial production, and perceived natural capital as a marginal contributor. The exclusion of natural capital from balance sheets was an understandable omission. There was so much of it, it didn't seem worth counting.

In the Soviet Union I was the head of all oil production. And you know in the Soviet Union, you didn't get that job unless you were really worth it.

Tom would bring in songs, Mike would engineer, and we recorded about 30 songs.

This film, Tomb Raider 2, is a big challenge. It's quite exhausting.

My first CD started as a studio project and I record everything with one other guy, so I didn't have a band. That's kind of how I like to do it, though. I like to create it with one other person, this guy, Tommy English, who produces everything. And then I go out on the road with a band who interprets it live.

The next time you hear me attacked as a socialist - like tomorrow - remember this: I don't believe that government should take over the grocery store down the street or control the means of production. But I believe that the middle class and the working families who produce the wealth of America deserve a fair deal.

I don't go on set with an army of people because the most expensive elements of a movie production are the plane tickets, the hotel rooms, food and gasoline. If you're willing to discover new colleagues in the place that you are, you can save a ton of money.

I think 'Cyrus' has a lot of fat in it. It was a $7 million movie. If you're going to make a movie with famous people, you don't necessarily need to spend 7 million dollars. Make it for less than that, and you'll be able to sell it and make a ton more than that, and everybody shares the profits.

It all begins with the initial tone coming from the cabinet, but EQ at the board is very important.

As producers, we can influence where the budget goes, but only the director really controls what tone, what type of movie you are trying to make.

I've been on shows where they're just setting it up, and they're trying to find the tone of the writing and performance. That's always a really chaotic period on shows.

When you're writing on someone else's show, you don't have to think as hard about nailing the perfect tone because you're kind of just like, 'Here's 20 ideas I thought of, and they can just pick the closest.'

I'm not mad about movies, there are too many people involved in the making of them, and they lack a definitive creative focus.

I don't think there is too much art involved in what I do.

We shot 'Telusa Telusa' song in Bolivia. It took us 50 hours to get to the location. We shot in high altitudes, and oxygen cylinders were kept handy.

Today, computers help us making the music. It's really a tool.

I have all the tools and gadgets. I tell my son, who's a producer, 'You never work for the machine; the machine works for you.'

The good thing about Pro Tools is you can actually hear what you're working on, so it doesn't just become this intellectual idea. But Pro Tools can be dangerous, too. It can make things sterile.

Pro Tools was invented to quicken the recording process.

I have a pro tools rig that I carry in my backpack.

The proportions, too, in which the capital that is to support labour, and the capital that is invested in tools, machinery and buildings, may be variously combined.

I am a child of digital generation. I have done most of the records with Rilo Kiley on computers, on Pro Tools or other digital programs.