One time in the late '50s, when Peter Finch, Laurence Harvey, and I were all offered the same movie role - the assumption being that we weren't friends - we marched up to producer Dino De Laurentiis's door and declared in unison, 'We don't think we're suitable for the part. '
I think being a producer makes you a problem solver, so you kind of go, "Well there's a problem. What do we do? How do we solve it?"
The lady. . . is not a producer; in most communities productive labor is by consent unladylike. On the other hand she is the heaviest of consumers, and theorists have not been wanting to maintain that the more she spends the better off society is.
What's crucial about being an executive producer is that you stay in the loop, information-wise. They have to share all their major decisions with you.
I'm a producer in the old-school way - not just some slacker working on Pro Tools.
When I was a producer, the fun of the show was waking up with a hit and enjoying the period after the show opens. The fun of a director stops the day it opens. No matter if it's a success or a failure, it's not a whole lot of fun anymore.
I'm a human entropy producer.
I'm just a musician and a record producer.
When I started producing it was right at the beginning Channel 4 in England. Nicholas Nickelby which was my first credit as a producer was Contract 001 at Channel 4 - that was the start of independent production in England and the emergence of an independent sector.
It's almost as if we have two lobes in our brain. There's the consumer and investor mode, and we're doing better and better at that lobe. But at the producer and seller mode, we have to work harder and harder. And the better we do as consumers and investors - the easier it is for us to choose something better, to exit every commercial relationship - the harder we have to work as sellers and producers. One follows from the other.
But we were doing plays and movies which I had nothing to do with other than being a producer, and I don't have that kind of interest or time any more.
Producers say things that they would like to see in the movie but they don't see the full picture. In the end if you ignore everything the producers say, of course, you get fired; but then if you listen to a producer on everything then it's like 'Hey - why don't you direct your own movie?'
I realized than an author cannot also be a producer.
The business today is completely different and it's very producer driven, so that a songwriter needs to have producing chops, be a singer, songwriter, or find a singer to develop.
The second album was like being on a completely different planet compared to when we were making the first album. . . . Even though it was the same musicians, the same artist, the same studio, the same producer, - it felt like a completely different piece of a puzzle.
As a producer, I like to bring in unexpected voices, unexpected musicians, like Watt and Joey Spampinato of NRBQ.
I will be the greatest jobs producer that God ever created.
The hardest thing, as a producer, is to find a director who does the picture for all the right reasons, and not just because they know it's successful or that they can do a good job, but in their bones, they love that genre.
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.
Isn't Timbaland a make of shoe? It's a producer? I don't know who that is. Oh well.