Quotes About Producers

I used to struggle a lot with the depiction of violence in 'EastEnders.' I had more meetings with producers about that than anything else. Because it's kind of cartoon violence, and I worry when my little boy watches it.

I like aiming for the producers who are hungry. I don't chase the wave.

Festive seasons are good for releases, but we have to leave some festival dates for other producers to release their films as well. We cannot take away all the holiday releases.

I'm lucky to be collaborating with a lot of great songwriters/producers - and it's all about chemistry!

I want to challenge myself to see where my limit is and experiment with a lot of different films. A lot of artists from Asia focus too much on their Asian background. I don't want to let go of my background, but to be a success in the U.S., which is my goal, I realize I need to surround myself with American filmmakers and producers.

I've said this before, but after 'That '70s Show' ended, I solely wanted do films that inspire me, and to work with people who make me better. I wanted to just surround myself with people who I think are better than I am, whether they're actors or directors or producers, so that I could learn from them.

Though pigs have been proven susceptible to a porcine spongiform encephalopathy, the National Pork Producers Council claims that no naturally occurring cases of 'mad pig' disease have ever been discovered.

Hollywood producers aren't going to say, 'Get me that swearing, grey-haired, headless chicken. We need him for our new 'High School Musical' movie!'

We have a history of great producers - ABBA and Max Martin - we have proof of people being successful from Sweden.

Superman was never previewed because the producers didn't trust Warners with the film.

I struggled more with my identity. Let's be honest - early on in my first records, I didn't have the power to tell David Foster or other producers what to do.

Historians have generally described the coming of industrialization in terms of changes in paid work. The transformation has been framed as one from a community of comparatively independent producers to a class of wage workers.

Furthermore, there is no good ethical or economic reason for asking workmen and current producers to forego all economic gain in order to increase the purchasing power of all the wealth accumulated in past years.

Film-making, in itself, is such a risky, costly-yet-uncertain business that despite being wealthy, 90 percent of people don't become producers.

The TV weatherman has always been one of the best, most secure jobs. They change anchors, they change the set, producers come and go. But the weather person hangs on forever!

As more delivery systems for entertainment producers come on board, you have all these different formats where people are compensated.

Most countries in Africa have the capacity to be great agricultural producers, but they do only subsistence production. So a family will produce for themselves and nothing more. Why? Because of the systems: The markets are not there to go beyond.

So when it was my turn to start developing projects, I knew the writers I wanted to work with, and I had met every head of studio, every executive and a lot of producers. I started finding things, little crumbs off other people's tables that I would make my own.

For me as an actor, I oftentimes wish producers would take a chance and cast me against type, and they often don't, so when you get a chance, you do it. At least I do.

When you start early, and you're writing for free, there's a lot of producers that will take advantage of you... It is seared in my brain forever.

'Hellraiser' was what 'Hellraiser' was. It was a $900k movie, and there wasn't anything I would have done differently. But 'Nightbreed' was taken away from me. It was thought that its meaning wasn't... Its meaning didn't chime with the producers.

It was not easy to convince someone to put their hard-earned money into my work. But if we have the talent and confidence and if the producers are confident of your work, it is not difficult to get a producer.

I've just gained so much confidence in the booth since the 'Sit Still Look Pretty' era. I'm working with really talented producers and songwriters who bring out the best in me.

In L.A., if you're in improv, and you're on those stages, all the big agents and managers and producers are watching those shows. They're not flying to Chicago to see the show. People are booking jobs off the stages in L.A. who aren't more talented than the guys in Chicago. But the most guys book out of L.A., and the second is New York.