Quotes About Adaptation

In the long run all producers are forced to use the most efficient methods or give place to others who do.

I think the days of working with producers in the conventional sense are over for me.

You can ask any Latin actor: inevitably, if they get a part meant for a white guy, producers will change the character's name to sound more Latin.

Radio people can't entirely shake off radio habits when they start doing podcasts. They sometimes bring with them things we don't need, like producers and explanatory voiceovers.

Often by the time writers and producers try to get a new hit song, the industry has already moved on. Whatever you're creating might not be as hot as it would have been during the time of your first hit. It definitely compromises the creative process when the music is changing and evolving so fast. If you're not on top of it, you will be forgotten.

When you're trying out on Broadway, it's very hectic, and you're making changes night after night. There's a lot of pressures from producers to make some changes, and you're writing for actors who are in it - and sometimes the limitations of actors who are in it.

I had to really learn what it meant to be on a set and what the expectations were and what producers are. I had to learn who I'm talking to and what their functions are. I had a couple of gaffes: I would ask a person a question, and it wasn't their job. I had to Google their job description. That was the first big adjustment.

One minute we're over here, the next minute we're doing something completely different. But it's interesting because you are producing so many things you couldn't do with analog.

I got written out of 'G.I. Joe' and was like, 'Welp, I'm going to go back to what I do: writing and producing comedy.'

As we get better at things, we need less people to produce the things we really need, but what do we do with the rest of the people? They have to be doing something, too, to buy from those few which are doing the really basic stuff, and so that's why we need to be continually producing new stuff.

I nearly drowned in the Xingu River in Brazil some years ago. When I was given my life back, I decided I wanted to make some changes, so I left acting to concentrate on producing films. I wanted to be in control of my own life.

I thought I was going to be YG's DJ forever. I didn't plan on producing; I just picked up producing and got good at it.

My mother moved abroad when I was 11, my dad wasn't around from the time that I was a baby, so I was not the product of a family, but a product of observation - of watching what went on around me, of watching who I liked, what I didn't like, what I thought was good behavior and what I thought was bad behavior and tailoring myself accordingly.

I'm a product of Russian culture, but I never felt it was my country.

There's no other product that changes function like the computer.

I'm just a product of my environment, and it comes out in the music.

My life is very well managed. I have a lot on my plate, and at the same time, there were still holes, and what I do and where I am dovetails nicely with what Agnieszka needs. I don't think I could be a coach for a Madison Keys because she needs somebody more hands-on. But Agnieszka is almost a finished product.

Everyone is a product of their own environment, and that, I think, has actually been the key lesson for me.

A screenplay is not a finished product; a novel is. A screenplay is a blueprint for something - for a building that will most likely never be built.

An actor's career doesn't feel like just one career to me. It feels like about five or six. Because every six or seven years, you look in the mirror and you have a completely different product.

Humanity has experienced many revolutionary changes over the course of history: revolutions in agriculture, in science, industrial production, as well as numerous political revolutions. But these have all been limited to the external aspects of our individual and collective lives.

Yes, I'm happy with Alan Ball's production of my novels.

I used to watch a lot of American and British television as a child, which helped teach me the language and accents; it was partly that which landed me the part of Roxy in a London production of 'Chicago' when I was 25.

People talk about the '60s, but they were merely a mass production of what the '50s had begun.