Quotes About Producer

When 'The Pacific' came around, I had to audition the old-fashioned way. It was the casting director and then the producer and then another producer and another producer and then Spielberg and Hanks.

Part of the advantage, and part of the result of trying to be a producer and director, are the practical things, you find. It's so advantageous to go to a place that you already have a feel for, a literal and spiritual familiarity.

A lot of nepotism that exists, actually, exists outside this industry because in this industry, behind the camera a director's son becomes a director and a producer's son becomes a producer and that is still understandable that they are carrying their legacy but for actors, it is very very different.

As a producer, as a CEO of Hartbeat Productions, I am making deals to put my company in place to win, to put my staff to work so that while all this stuff is going on, they're in the kitchen cooking. So it's understanding the longevity of the entertainment business; you get out of it what you put into it.

I terribly miss - we all miss, I think - somebody like the great producer Irving Thalberg. He had a foot in both camps: He understood us creative people. And he understood the money people.

I've seen too many comics who got their own shows and were undone because they worked for an executive producer who didn't understand their comedy or their sensibility.

Oh, she just happened to be a friend of the producer's. Or, oh, they've been trying to get her from the beginning and she just had a spot open up. There are always little loopholes, so I don't take anything personally anymore.

As a young man, I went to Paris and soaked up many hours of film knowledge from Robert Hakim in my efforts to become a producer.

Nepotism can be one of the factors that affected the industry in the past, but today, what matters is good content, talented artists and good sound. That's what every music label, director or producer is looking for.

I've been on so many movies. Generally, I haven't gotten to be on the ground level. As of two years ago, in 'Dear John ' I got to really be on the ground floor. I wasn't a producer. I felt like I put the work in, and I did have a lot of sway on what got fixed, reshoots, so on and so forth. It felt really good.

I'm extremely unhappy with the projection of 'Tum' as a hot film. It's demeaning not just to me but to the producer and director.

I thought, 'Oh, I'll be an independent producer. Oh, I'll be a manager.' I was going through all those things in my head, and one night, late at night, I was having what I would now describe as probably a panic attack because there were so many unknowns. An almost literal voice came into my head telling me, 'You need to write.'

The woman is the fiber of the nation. She is the producer of life. A nation is only as good as its women.

In documentary, which is the only thing I'm really very familiar with, women are very easily relegated into a producer role.

So dance music is now pop music. So now, as a dance producer, what do I have to do? So I'm starting to do alien music, because pop is not pop anymore; we need to go alien to be independent.

Man is priest, and scholar, and statesman, and producer, and soldier.

My mother stayed at home and raised me and my closest sister, and that meant that the American Dream and what he was doing on television as a character and behind the scenes as a producer was producing for us at home, so it is your life.

I don't think there's any show that really escapes it: It's very rare that a creative producer stays with the show. As soon as the producer leaves, they cut the budget.

I actually became a producer because I saw the producers getting all the babes. They were stealing them from the guitarists.

Success stems from the producer creating the optimal conditions for the filmmaker's own creative process. Not from steering the filmmaker through a one-size-fits-all approach.

Honestly, when I am offered a film, I look at the story, character, director, producer and co-actors while giving a nod.

My father was a freelance writer/director/producer, and my mother was a stewardess for Pan-Am. It was very non-traditional.

My mother Sheela Sharma is an actress and father Subhash Sharma is a producer-director. But I had a normal life while growing up and always kept myself grounded.

As a young man, I went to Paris and soaked up many hours of film knowledge from Robert Hakim in my efforts to become a producer.