There's no great technical expertise in being a movie producer.
If you happen to have a spare $100 million floating around, then you're my producer.
I suppose one thing that's always fascinated me is that thing where you're a band and you want to start recording and you get a label and a producer, and then there's that pressure to go out there and really toil.
I think you have to have different tools for each job - you know producer is very different from a director and very different from an actor.
My advice for other female directors is look for people who really appreciate your vision and are willing to genuinely support you. When it comes time to taking notes on various cuts, if you have a smart producer, listen to her notes!
You don't really audition for Hamlet; Hamlet is one of those roles that a director or producer decides you should do it.
My stepfather was a producer. I'd always wanted to be in show business. And so when he came into my life and he told my brothers and myself, he said, look, if you want to be in this business, you're all going to have to start at the bottom.
Studios are an assembly line. They can be a very good assembly line. As a producer, you concentrate on one project at a time. As an executive, you're in charge of a slate.
I am very filmmaker oriented, as a producer. I think the most important thing is that you have to really choose the players carefully.
To speak up and stand by my guns the entire time. . . To stand by my methodology. That's why I kind of made myself the producer.
If the producer doesn't like you, consequently he reads the script with a very negative view. But I wouldn't preoccupy myself with that, I don't give a damn. You can be a hunchback and a dwarf and whatall.
To say someone is a producer. . . it's kind of a slippery term.
I'm just a musician and a record producer.
I never turned down anything and never argued with any producer or director.
I'm developing some screenplays at the moment with my Australian producer.
We are not the playwright, we are not the producer, we are not even the audience. We are on the stage.
Well, I started years ago with Flashdance and we also did Coyote Ugly, so I have put my toe in the water before with romantic comedies. I love making them and I love making people laugh. That's a trademark that I don't think any producer would turn down.
You have to be producing to be able to be called a producer.
Being in L. A. , it was really hard to find a country writer and producer. I eventually - years of searching - found this guy, Dan Franklin. He's an incredible musician and producer. We write so well together. . . It's been a really cool experience.
I can't really recall the first time I was noticed by a producer but the first time I was on television was doing Daytime for Another World, which I started in December '75 and went until December '76.