Quotes About Production

I have a generally optimistic temperament and am thrilled by what I see as a rapidly growing food movement, especially among young people who care about how food is produced and what it does to their health and the environment.

When I was a young person, when I was in high school, we did a very emotional and wonderful - for us, life-changing - production of 'Godspell.' It really, really was the highlight of my high school time, and it was for everybody else in the cast, too.

It was like an older but better version of Young Talent Time because we had more time to spend on it. There were three guys and three girls and we made thirteen episodes that were sold in the United States and Canada.

I remember being on film sets when I was younger, and only men got to do the cool action movies. So I thought, 'Maybe I'll get to produce one day and get to do cool stuff too,' which is what happened when we did 'Charlie's Angels.' Starting my production company was a big turning point for me.

My most vivid memory - it's actually one of my first memories - I was three, and I was the youngest angel in the show production. And I remember being absolutely desperate for the toilet. I needed to wee really badly. So I was crossing my legs when I was walking down.

If you bring in testosterone outside your body, it probably stops producing it because it thinks you're going to get it from the outside.

The final product in a play is not just the written word. It's the production, the performance. The script is, of course, a very important piece; but it's only one element. Ultimately, yours is one of several voices. People can change your work in a play for better or worse.

The one thing I always think about when I don't get jobs is that it just wasn't yours. You don't want to do something that you're not right for because it won't make the production look good, and it won't make you look good.

I've been interested in art and fashion for as long as I can remember because they are so visual. I am fascinated by the idea of visual creation from the ground up, which is a challenge in ballet when the audience has seen every show of yours, every other principal that you've shared a role with, and every different production.

We noticed that the most popular videos at YouTube showed people making things.

The production value of YouTube videos is not there.

With everything that I've done with YouTube and podcasts for so many years, it's been: you can record it, edit, and then upload that day. With the book and documentary, it's been such a longer process.

When we started out doing YouTube videos, I think we were very, very early on in terms of people doing a behind-the-scenes component.

There's a new success model, and us and some of our peers are now starting to prove that TV and very traditional content also works on the Internet, specifically on YouTube, and it can rival television audiences and television production value. 'MyMusic' is proof of that, having a successful run and now coming back for a second season.

I've always done YouTube myself: everything is written, edited, produced, and promoted by myself.

When I wasn't working, I was learning how to use production software on YouTube and making music.

Our album stuff, we bring it to our producer to help us finesse. But anything that's been on YouTube and a lot of the stuff that's been on the album, too, it started from us just sitting around in a circle and jamming it and finding where the parts fit.

In making YouTube videos, you can't just be an actor, you have to also know the shots and how to write.

It was always something I knew I was capable of and from an early age my mother was involved in the film industry. She used to work at a production company. So I was exposed to a renaissance period of films in New Zealand back in the early 80's.

By 1949 I knew all the studio tricks.

One of the tricky things with animation is, because we spend four years on the movie and everything is done so methodically day by day by day, it can be a struggle to have the finished film feel spontaneous and loose and naturally occurring.

I kind of love working on film because television in live, that's tricky.

I work with my brother Finneas, and he produces all of my music in his little bedroom in our house. We actually tried renting out a studio for a month when we were producing 'Don't Smile at Me,' but it was really hard there, and we ended up just doing it at home anyway.

The cell is a city of production centres, each part working away like mad, and it's co-ordinated. Six trillion cells in a body - you can't help but be moved.