Quotes About Producers

Because I've worked with Netflix from the beginning, and that's my first job, I only want to work with creators, producers, and networks that are pushing the limit and putting people on the screen that haven't had their stories told yet.

If you look back throughout the history of Broadway, there's always been periods where writers and producers have delivered the kind of things that people want to see, while at the same time pushing the form along.

Producers now look at the talent and if they believe that the director has the potential, they are willing to shell out the money irrespective of the gender.

There are many great wine producers from all over the world making fantastic wines. Italian wines especially are making an enormous comeback after sometimes being labeled as inexpensive jug wines.

I'm transitioning from being a starving artist. My producers had success outside of the Daniel Caesar brand, so they invested money, time and resources. They funded the first video, and a lot of other things that I'm so thankful for.

When I work on a movie, I look at the script or watch the film, and I talk to my director or producers and make a plan: this is our main character; we need a theme for this plot. We need a love theme.

I wanted to feel like an artist for once in my life. I wanted to use other producers for respect, to let them know that I listen to other people's music and that I'm just not out here on my own page.

I'm dedicated to bringing to life what the author is trying to portray. I try to make the producers cry and the crew laugh.

The producers broke one of their own rules: Star Trek has become pop culture, but there is never pop culture within Star Trek, because it punctures the reality.

A lot of times, actors give so much power to the producers and the producing companies because, quite frankly, they have it. But we don't take the limited power that we have, which the power you initially have is to say 'no.' But 'no' in a positive way.

I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.

'Satya' was a groundbreaking film that opened people's eyes. People like Ram Gopal Varma and Shekhar Kapur introduced such films in the industry as never seen before, and it wasn't easy if you went to a producer with an arthouse film back in the '90s. They'd laugh you out of the room.

I've been watching more American TV because of all the great TV series that have come out in the last five to 10 years. I'm a 'Sopranos' fan, I'm a 'Wire' fan, I'm a 'Mad Men' fan. I'm a 'Deadwood' fan. It makes me optimistic for the future of storytelling on TV that producers are willing to take that kind of jump.

Everybody gets typecast in movies, but you have to make wise choices. I'd say around 90 percent of movie casting is about the way you look, so you have to fight that. If producers had their way, I'd only be in action films, but I'm interested in a more varied career than that.

There are a lot of classic Goapele tracks that are obviously me. And I'm also just trying to keep evolving and grow as an artist. I've always had a wish list of producers I wanted to work with. I just wait until the feeling is mutual and go into the studio to see what we can come up with.

The more dollars the studio producers put in, the less freedom we have. If the budget hits $100m, they get scared - they'll take the existing score of a successful movie and expect composers to copy it, like wallpaper. The biggest challenge for any composer in Hollywood is to be as creative as possible within those boundaries.

A lot of people still don't realize that, before Rascal Flatts, I was in a Christian band for four or five years, and I had the opportunity to work with some of the greatest pop musicians and producers in L.A. I learned a lot from Peter Wolf; he was one of my heroes growing up in the '80s. He was a producer of a lot legendary pop music.

The whole action of the laws tended to increase the number of consumers of food and to diminish the number of producers, was due the invention of the Malthusian theory of population.

And this thesis is somewhat connected with general social and political observations, because it establishes the fact that the number of consumers is considerably larger than the number of producers, a fact which exercises a not inconsiderable social and political pressure.

Meat consumption is just as dangerous to public health as tobacco use... It's time we looked into holding the meat producers and fast-food outlets legally accountable.

I'm 45 and I don't have time to spend two years of my life bringing in producers and dragging the record around the planet.

Although it cannot be proven that no elements of abduction experiences have been incorporated from these media, by and large abductees avoid media accounts of abductions and are uniquely distressed by them. My impression is that the traffic is stronger the other way – i.e. that abduction stories, based on actual clinical cases, find their way into the work of media producers hungry for this material.

It put the interest of the producers and merchants ahead of that of consumers, who only want low prices and a ready supply of goods. Merchants often prefer the opposite.

I don't live in Los Angeles. I work in Los Angeles, and even that - I audition in Los Angeles; I very rarely film in Los Angeles. I don't hang out with producers on my off-hours, so I don't even know what that world is like.