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Salman Khan did not help me get movie offers. What rubbish! Will any producer take a risk of millions of rupees at the instance of any person? Everyone knows that the film industry is highly competitive, and one gets a job on one's talent only and not on any recommendation.
Most people want to become movie stars and I just want to be in the business. I already was a star. If I get the part of a lifetime and it blows up, then that's wonderful. But if the acting doesn't work, fine. I'll just be a producer. And if the producing doesn't work, fine. I've got a lot of other stuff.
I can't wait to work for Rick Kaplan. He's a great producer. I would host an infomercial if he would produce it.
I'm a producer. I'm a musician. And my job is to come in and, you know, put - you know, I treat all of the artists that I work with, like, you know, the way da Vinci was looking at Mona Lisa, you know, there's an interesting backdrop.
I discovered early in my movie work that a movie is never any better than the stupidest man connected with it. There are times when this distinction may be given to the writer or director. Most often it belongs to the producer.
I don't think you can mix classical music and reggae. It's not possible. But some producer in, like, Norway is going to put it together.
When I was 17, my producer Rodney Jerkins was working with Michael Jackson at the time. He knew how much I wanted to meet Michael Jackson, so he says, 'Would you like to come and meet him?' I'm like, 'Are you serious? Of course I want to meet Michael Jackson! Where do I meet you? Where do we come?'
I have never pressurized a producer to do me any favor.
I was too heavy to be a jockey and too honest to be a producer, so I became a writer.
My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I'd like to build something to that effect.
You know, in the days when I started, if you had Chet Atkins' name on your record as a producer and it was on RCA, you could work the road. It didn't have to be a big hit record, it just had to have that on it.
With music, you're working with a producer, and you walk out of the studio six hours later with a track that's almost completely finished. There's an almost immediate payoff.
I played a paraplegic on a show called 'Neighbours.' Just turned up on set, sat in a wheelchair. The producer came up to me one day and said, 'We have to cut around that entire scene because your leg was moving.'
I'd been a housewife and mother to our son Thomas Jefferson, and I was looking for a new career. So when my agent called and said a producer named Paul Elliott from E&B productions, the biggest panto company in the country at the time, wanted to meet me I agreed.
I'm a human entropy producer.
The media love coarse debate because coarse debate drives ratings and ratings generate profits. Unless the TV producer happens to be William Shakespeare, an argument is more interesting than a soliloquy - and there will never be a shortage of people willing to argue on TV.
I won't quit until I get run over by a truck, a producer or a critic.
I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.
I wrote an episode for 'thirtysomething,' and a producer said, 'That's really good, but what is it about? What does it say about you? What questions are you asking yourself?' I had never thought about that. This comment changed who I was, because it made me look at my own soul, the dark corners in my soul, and accept that dark side.
I'm a producer for fun. I'm not a professional schooled musician or anything.
It's a battle between record company, between producer and between mastering engineer. Because the louder you make your record in a digital process, the more dynamics are squished out of it. Nobody knows exactly what happens, but the dynamics in the performance disappear, and everything is at the same volume.
A producer has to know all about everything from set-building to costumes to acting.
With technology you can now be your own record company, director, producer, etc. If you have talent, you can display it on the Internet and the world will tell you their thoughts in the matter of seconds!
As a producer you have creative control, and that's what is so exciting about it. At the end of the day, if you have made a film it's totally your responsibility, and if it works it's your responsibility and if it doesn't it's also your responsibility.
You sit there waiting for the RED LIGHT to go on. You could be sitting there for five minutes, waiting, while the producer talks to the engineer. Then the light goes on you know that you mustn't make a mistake for at least 4 minutes.
John F. Kennedy
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