Quotes About Producers

Producers on Broadway approached us with an original script after relaunching ourselves as 'A Great Big World,' and wanted us to write the music. They asked us to make the music we would sing if we could, and so we can go a little crazier. We refer to it as 'our music on steroids.'

I like anything that is melodic, and I'm a very big fan of movie soundtracks, so my favorite artists/producers would be Steve Jablonsky, Hans Zimmer, K-391, Ahrix, KSHMR, and many, many more.

When the EPA says that property owners, farmers, and livestock producers must stomach higher costs, longer delays, and bigger headaches, it's up to Congress to put up a roadblock.

I don't think I can speak of the achievements of Indian cinema because it's so large next to me. It's not stopping. It's ever-growing. We are going towards the right direction. We are evolving as a filmmaking industry as actors, directors, producers, singers, musicians. Everybody just pushing the boundaries.

I still remember 1997 when I made the movie 'Storm Riders;' that moment, a lot of American producers want to hire me to make movies in the States.

Specificity is what makes good storytelling, and good storytelling is what makes money, and making money is then what encourages new producers to invest in different stories about Asians.

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.

Just as every Hollywood picture is "put together" by producers, who are always in tight control of the enterprise and reap the lion's share of the profits, so is the Outlaw Industry managed by lawyers.

Any abundance, in any amount, is illusory if it does not safeguard its producers.

Why is it that medical strictures and recommendations so often work in favor of food processors and against food producers? Why, for example, do we so strongly favor the pasteurization of milk to health and cleanliness in milk production? (Gene Logsdon correctly says that the motive here is monopoly, not consumer's health.)

Between these two programs---the industrial and the agrarian, the global and the local---the most critical difference is that of knowledge. The global economy institutionalizes a global ignorance, in which producers and consumers cannot know or care about one another, and in which the histories of all products will be lost. In such circumstances, the degradation of products and places, producers and consumers, is inevitable.

This is the world of "peer production," the extraordinary Internet-enabled phenomenon of mass volunteerism and amateurism. We are at the dawn of an age where most producers in any domain are unpaid, and the main difference between them and their professional counterparts is simply the (shrinking) gap in the resources available to them to extend the ambition of their work. When the tools of production are available to everyone, everyone becomes a producer.

In this sense, a vacation home, a highway, a supermarket in the countryside are all part of the urban fabric. Of varying density, thickness, and activity, the only regions untouched by it are those that are stagnant or dying, those that are given over to "nature." With the decline of the village life of days gone by, agricultural producers, "farmers," are confronted with the agricultural town.

quality demands a democracy of producers and consumers, freedom of criticism and initiative – conditions incompatible with a totalitarian regime of fear, lies and flattery.

TV producers want ratings and are willing to do nearly anything to get them. They gin up artificial conflicts and create an urgency for even the most minor of economic data points.

We tend to think of Steam as tools for content developers and tools for producers. We're just always thinking: how do we want to make content developers' lives better and users' lives a lot better? With Big Picture Mode, we're trying to answer the question: 'How can we maximize a content developers' investment?'

I have found that so many directors and producers in the room say nothing, and this can be deadly. It's very difficult to audition for comedy in the vacuum of a small room, but it's the only way most do it.

I have way more freedom in Los Angeles and in the U.S. But it's funny because when I have a meeting with producers or people from the industry, we go to a restaurant to meet someone, and nobody knows me. But all of the sudden, the entire kitchen comes out, and they start taking pictures with me, or at valet parking.

Producers generally don't like me; directors do, generally. Convincing the producers is hard. They can't see the commercial value behind such a face, nor would they get a commercial value, necessarily - and I don't mean that in a good way or a bad way.

I know I can't do everything myself. So I know I specialize in my melodies and I do some of my demo work. I pass it on to my producers who are much better at the production level

The key relationship for writers in film is producers, because those are the first two people involved and the ones who work on it intensely in a private way without the big machinery of film.

Im very excited to work with everybody on The Bridge - the cast, the writing staff, the executive producers - the show is really good. Im very lucky to be a part of it.

I don't think you should sit around and wait for people to give you an opportunity to express yourself or do your work, or whatever. Actors have to be producers and writers have to be producers.

What's missing in the musical theater is producers willing to nurture new work, raise the money and put it on.