Quotes About Production

Intelligent policies will be largely self-regulating in the sense that the system of incentives and standards makes it absolutely ludicrous to not move towards clean, internalized systems of cost and production.

The town I came from really had one industry, and that was furniture.

In my early teens, I knew I wanted to do television production. I loved cameras, editing and producing, anything that had to do with television production. My friend had a production studio across town, and we'd go over there at night and shoot and edit. I produced my father's televised service for 17 years.

Gosh, I'd like to direct Our Town on stage.

I was in Kansas for about a month, and we worked most of the time in a very small town, so it felt like the production basically took the whole town over. In a way, we were the Martians in Kansas.

I have visualizations where I'm living in a really cool place - probably outside of town - with a really dope studio where I can record music or film things. Just have my own mini production house. That's really the thing I'd love to end up with the most and only do gigs when I needed to and also amass a little bit of a crew around me.

It's the same the world over. A Hollywood production comes to town, and the locals all turn movie crazy.

I first got into acting when I was 14, coming back from a junior high school basketball game. My mom picked me up and she had been mentioning, prior to that, this community production of 'Godspell', a couple towns over. I was reluctant, at first, and she bribed me with some great dinner that was in that town, neighboring the theater.

I like to have fun with them. I like to toy with them a little bit. we're making television, after all. Right?

I want to toy around with producing a Broadway show.

With 'Toy Story,' which is a fantastic film but is essentially animation, you get to make all your decisions beforehand. 'Jumanji' is shot much like any other action film.

The Braintrust developed organically out of the rare working relationship among the five men who led and edited the production of 'Toy Story' - John Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, and Joe Ranft.

When we did 'Toy Story,' that was an all-hands-on-deck situation that really was time-intensive.

The biggest difference between British TV and American TV is money. But what money doesn't do on American TV, which I thought it would, is buy you time. You don't get more time. You get more toys.

Once you turn on the camera, making a movie is making a movie. I don't care if it's $9 million dollars or $50 million dollars. You have bigger toys, bigger set, actors who are better paid, but once you turn on the camera, it's director and performance, and I don't find a big difference.

Scale is not just something that a director wants so as to play with all the toys. Scale also lends verisimilitude, to put together a real world.

I always say that when I was recording with Phil Spector, he would not let me really sing, you know? And even to make me sound younger, he would speed the track up. He still wanted that real nice, little, quiet, sweet little sound.

I've been in the studio when you go through a track and you run down a track and you know even before the singer starts singing, you know the track is swinging... you know you have a multimillion-seller hit - and what you're working on suddenly has magic.

If you listen to Too Short over the years, that's me - I'm not hitting every key or every drum or singing every track - but that's me telling everybody what to do. I like to work with creative people. But when it all comes back, and we're mixing down Too Short songs, I'm right there.

On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.

As far as arrangements after the basic track is cut, if I'm writing a horn arrangement or playing strings, I might arrange that, plan that out. Other times, I'll just sit and roll tape.

We can track and see the production of single molecules, trace them and see how they assemble into structures.

I would love to do a track with Will.I.Am. He's always creating amazing songs. I mean, to be honest, Chris Brown has always been amazing, so I would hop on there and let him do his thing and create some magic there. As for a producer, I would love to work with J.R. Rotem. He's my favorite producer out there.

The idea that America, whose oil production has been declining for the past 40 years, is now on track to become the world's biggest producer by 2015 is still hard to grasp.