Producers Quotes

If you think of movie studio executives, say, as society, then I root for the independent producers.

The decisions that Ellen made on her show were between her and her producers. I supported her decisions. I was there to hug her when she got home.

Things have changed a great deal since the days of Mr. Mayer. The studios no longer control, as they did in those days, artists or directors or producers, as the case may be.

At a time when U.S. jobs are heading overseas at a record pace, and amidst increased sanctions on our manufacturers and producers from other countries, it's imperative that we do all we can to provide our businesses a climate to operate successfully.

What I always meant by that was that I do believe that a lot of directors, and writers, and sometimes producers just lose their edge because they haven't seen anybody or talked to anybody or been with anybody who isn't a kind of replica of themselves for a long period of time.

I want to be remembered as one of the best record producers of my era.

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.

I've been singing for six years. I've been in and out of the studios with top producers, but it wasn't something I was ready to express to the public or to the press. I wasn't ready to come out. I wanted to perfect my voice and be 100 percent positive that I could come out right.

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

I don't hang out with agents and producers and I'm not into the business side at all.

Tough times helped many commodities producers become lean and mean through consolidation, mergers and cost-cutting. All that excess supply has been sopped up.

Nowadays, there are sometimes more producers than there are people in the cast, because it takes that much money to put a show on.

I was never a villain on the stage. I always played strong, sympathetic types. My first stage role with a speaking part, believe it or not, was as a priest. It wasn't until I began acting in films that the producers and directors saw me primarily as a bizarre villain.

When you work for Bruckheimer, you don't get it any better. He's the ultimate producer. I've had the good fortune of working with some great producers over the years.

Agents and producers have to get you into a box to accommodate their limited imaginations.

Most producers I've known were writers first, and writing is a vital part of any game show. You could easily argue that the writing is the key ingredient that makes 'Jeopardy!' so great.

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.

I think audiences, producers and directors included, develop crushes on actors (actresses in particular) and then lose interest and move on to the next one.

I guess the producers saw me and knew I was literate and I always tried to be alert and it's funny because you have to have a sharpness to do those shows, especially some of the ones I did in later years.

But when I did think about it and looked at the whole package - the producers behind the show, the writers, the cast I would be working with - I would have been a fool to turn it down just because the role for me was another gay role.

Because of 'The Birds' and 'Marnie' I was, as the expression goes, hot in Hollywood and producers and directors wanted to hire me.

I had to endure the worst time of all in terms of racial discrimination in Hollywood when I first started out. It was inconcievable to American directors and producers that a Mexican woman could have a lead role.

So I still seized the power, but I felt that if I officially made myself the boss, in black and white, it would be too intimidating for the other producers and the other men who worked on the show. In other words, I had the power, but I gave them the title.

Everybody gets typecast in movies, but you have to make wise choices. I'd say around 90 percent of movie casting is about the way you look, so you have to fight that. If producers had their way, I'd only be in action films, but I'm interested in a more varied career than that.

When I played Bobby Fischer, my opponent fought against organizations - the television producers and the match organizers. But he never fought against me personally. I lost to Bobby before the match because he was already stronger than I. He won normally.

The producers who wanted me to do it liked me and trusted me, and more than one scene was only one take, because I'd plan ahead what I thought would be appropriate for that scene-so one take was enough.

Real movie producers aren't this nice.

And this thesis is somewhat connected with general social and political observations, because it establishes the fact that the number of consumers is considerably larger than the number of producers, a fact which exercises a not inconsiderable social and political pressure.

My relationships with producers or photographers - these are relationships that took years.

It took the producers a while to realize I wanted a full-bodied life. I wanted to get out before I felt I'd sacrificed so much to get somewhere that I couldn't afford to leave.