Quotes About Producers

There's a lot of creativity in the industry, but I don't necessarily think that the most creative DJs or producers are always the biggest ones. I think it would be nice to see more of an open culture to different music. I think that's happening. With Spotify, I think people are discovering a lot of artists they might not discover otherwise.

We like to be involved vaguely in the creative process so we know what's going on and we have some input, but actually, 'Top Gear' is at its best when the producers spring something on you and we respond naturally to it. The more you know, the less realistic your reactions.

I try to beat back the producers and engineers so they - there's not an excess of stuff used to squeeze my voice to make it artificial. There's a person in there, and people will listen; if they hear another person speak to them, they'll listen because it's lonely out here.

The process is intense and the producers, who are intelligent men, are bringing in new people for a fresh look at a complicated project that has been in the making for 10 years

If producers knew not only what consumers want now, but what they will want in the future, their job would be pretty easy.

I don't know why tobacco producers are exempt when it comes to listing ingredients, but that's just the way it is (it's all covered within the one word – tar).

Unfortunately, the author of a book pretty much gives up control of the story when the producers take over a book to make it into a movie.

We're in the same company as 2NE1 and we get our songs from the same producers, so the influence is natural. Since they've done a lot of things before us, we want to emulate them. But at the same time, we hope there will soon be an opportunity to show our own unique color. We want to succeed with our own unique color.

I like a sensitive script, interesting and respectful directors and co-actors, producers who understand the creative needs of a project. A happy unit in which everyone collaborates to try and make something compelling.

I would say that the majority of the people I work with are Swedish, very unknown producers and writers but so talented.

It doesn't matter if they're in front of the camera or behind the camera. I know women who are producers who are surviving on nothing but juice and almonds.

I've never let producers tell me what to do. Even when I was making television, I always did what I wanted to do, and if I couldn't, I didn't do it. It was a freedom that, these days, young directors starting out don't have.

I get advice from all the producers who have come out of Memphis. They just give me advice on the business side, because that's most important besides the actual music. Just staying at a point I know I can't mess myself up. I just got to be put up on game about it. Drumma Boy and Memphis Track Boy taught me a lot.

The truth is that the culture that surrounds us—and that persistently triggers new explosions of backlash outrage—is largely the product of business rationality. It is made by writers and actors, who answer to editors and directors and producers, who answer to senior vice presidents and chief executive officers, who answer to Wall Street bankers, who demand profits above all else.

In this hypercompetitive media environment, editors and producers no longer have the patience—or the financial luxury—to allow journalists to develop their own expertise or deep knowledge of a subject. Nor is there any evidence that most news consumers want such detail. Experts are often reduced to sound bites or "pull quotes," if they are consulted at all.

In this hypercompetitive media environment, editors and producers no longer have the patience—or the financial luxury—to allow journalists to develop their own expertise or deep knowledge of a subject. Nor is there any evidence that most news consumers want such detail. Experts

In pursuing the goal of development, one must start with the producers and move on from there to see whether the products of their labor are being rationally utilized to bring greater independence and well-being to the nation.

Television brings us to another accusation I should like to refute. We often hear the criticism that there is too much violence. Screen producers need not be told that television violence is very much like an iceberg. Only a small fraction of it is visible on the screen. The public should see what goes on behind the scenes.

Films have bigger budgets unlike singles, so producers benefit more from them.

The levels of poverty in 1933's rural America were unimaginable to us now. The 1933 Farm Bill, which introduced unprecedented government control over agriculture, was a reaction to the specific problems facing producers at that time.

The kind of in-depth investigative journalism we practice at 'Frontline' is thoughtful, rigorous, and time-intensive. It requires us to constantly seek untold stories and to give our producers and reporters the time and resources to dig into them deeply.

The rising levels of production and content are prompting producers to take up unusual subjects.

The highest grossing films have great, moral messages - not dirty, base themes, so we're trying to get producers to make more of the uplifting movies.

In the commercial theater, I've been pretty fortunate. The producers that I've worked with have allowed me to define the artistic integrity, the artistic limits of the work.