Quotes About Production

In an arena, with Girls Aloud, it's a big production and you don't have time to talk to the crowd about the songs.

I have not only Arms but a large proportion of Armourers to make.

Makin' records is one art form and playin' live is another. It's like the difference between makin' a movie and doin' theatre.

I actually have a theater company called Strangemen & Co. I'm the artistic director and co-founder.

Hell, the first thing you've got to do if you're going to make a picture is to get a story. The next thing is to get a good script, the next thing is to figure out who the hell is going to play in it, your characters, and then after that to make it.

The really staggering production costs at the major studios were not the salaries of the artists, but the Croesus-like bonuses handed out to executives at the end of each year. In the thirties an unbelievable 20–25 per cent of the net earnings of the majors went to remunerate a tiny handful of production chiefs, studio owners and New York executives.

I apologize for being obvious, but every time I watch the curtain come down on even a halfway decent production of a Shakespeare play I feel a little sorrowful that I'll never know the man, or any man of such warm intelligence.

Come to think of it, it is like production. Marketing designs the plan—what should be sold at what price, and how it should be sold. Sales actually goes out and implements the plan. Stylistically, marketing is like process engineering and sales is like production.

You know, the funny thing about Lorne and that show is that, you can go over one million things, but in a business of bean counters, he still likes to laugh at small things and creates a show around it.

What we make can survive us.

I always said I'm just an instrument; I'm transparent, like a medium, the language passes through me. Which is a bit like saying I'm a recording device, I start and I go. I had a real connection to ongoing, language production in real time.

Stargate by far is the top of the pile when it comes to Sci-Fi. The quality is great. They have really good writers, production design, lighting, wardrobe.

Sceptical Ketman is widely disseminated throughout intellectual circles. One argues that humanity does not know how to handle its knowledge or how to resolve the problems of production and division of goods.

From the beginning, we were prepared, we know how we would shoot and cut the two versions.

Usually with something like 'The 100,' because you're working so much and every day, and they'll change the drafts quite quickly, we'll go through maybe, like, 12 different versions of the same scene over a week. So there is no point in learning it on a Tuesday when on a Thursday it might be completely different.

I don't have a huge amount of gear, but on the software side, I have a number of plug-in chains that act as abstracted versions of real instruments.

'The A-Team' compared to making 'Narc' was a breeze. There's a whole other skill set and whole other kind of bone structure that goes into making a movie like 'Narc' versus 'The A-Team.'

I just tend toward more lush, full sounds in my productions. I don't have any preference when it comes to analogue versus digital; I use what's best for the application. Analogue synthesis is nice, but it's just one tool among many, and it has its place.

Putting out music as it's made, versus holding it until an album's finished, allows me to be more timely and maintain balance.

The thrill of doing television versus features is, in television, you get to focus more on the characters.

When Google reached out to me in 2011, they wanted me to build out their female lifestyle vertical. When they were starting with that initiative, they were giving each production house a million dollars to produce content.

My work participates in that really quick and easy and inexpensive material that's part of our culture. In that way, my work engages the means of production that we live with, even while it's classical and embodies some things from a very long time ago.

Some of the biggest changes that have happened are behind the scenes, in the way we produce the magazine. E.g., much of our production has been brought in-house via desktop publishing.

My whole shtick is that I want to contribute to New York's culture via restaurants, nightlife, whatever... but to be more conscious, more aware, more sustainable. It's more than just 'being responsible as a culture.' It's having an ethical chain of production.