Quotes About Production

There's nothing I've ever worked on that beat 'Game of Thrones' - that's a 10-hour movie; they put a lot of money in it.

Many people have the idea that game shows are easy to come up with. And nothing could be further from the truth.

I don't support a moratorium. I think the responsible production and use of the Marcellus Shale gas is actually part of the secret sauce as to how we will create jobs and how we will compete and win.

We'd become lazy with 'Top Gear,' doing six or seven shows a series.

We spend crores of rupees in the business of production but it is very rare to find a human being like Salman. He is a gem of a person.

Docs, in general, are made in the edit bay, archival docs even more so.

Industrialisation only can generate large-scale employment.

It takes a year for us to generate a script that is ready to shoot. There are maybe 20 drafts of a script. And, each time, someone saying 'I don't really love this,' we discuss it for 15 minutes.

The gallery is generating work for the masses.

It's financially advantageous to make a picture in Berlin, Germany. They have a very effective rebate system.

In the end when we're on stage, we push buttons, but when we're in the studio we're actually creating music that we play in gigs.

I've wanted to produce for a long time. I'd love to get a bunch of my girlfriends together - a female writer, a female director - and create something. Creatively, it's a different dimension. Why wouldn't people want that?

I'm really looking forward to filming in Glasgow with a top-class cast and crew.

As I've written before, China's ability to be the assembly line to the world wasn't where its role in the global economy ended; it was where it began. An ability to make products cheaper than anywhere else gave way to an ability to make high end products more nimbly than anywhere else.

If your home market is strong, you can be a strong global player because you have scale and can bring down the cost of production and remain competitive globally. When we started, our home market wasn't strong, so we had to do more business globally.

When you're shooting a feature that costs $200,000 a day with a crew of 250, you don't want accidents; you want to know exactly what's going to happen. But with a documentary, you don't, so you have to be sensitive to accidents because that is where the gold is.

'ABCD' is a very good film - the story, the production value - everything is excellent.

In the late 1960s, I was working as an usher for the New York stage production of 'You're a Good Man, Charlie Brown.'

You get the beats. You write to them. You go in the studio and lay it down. Hopefully, a song comes out sounding good. If it comes out sounding good, you put it to the side with the rest of the other good ones, and you try to decide which ones you're gonna use on the album.

You can have a million dollar, 20 million dollar budget or 60 million dollar budget, and if you don't have a good script, it doesn't mean a thing.

A good script makes our job a lot easier.

Economies of scale are a good thing. If we didn't have them, we'd still be living in tents and eating buffalo.

We work the full year round to make 10 or 12 episodes, and 'The Good Wife' makes, like, 26 in that time or something, which I can't believe. I don't know how they do it.

It's amazing, the quality of good work that happened in the fifties when a series would have to turn out 30-some episodes a season - it's amazing that 'I Love Lucy' was as good as it was!