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I'd love to see more women working as directors and producers.
I'm not in a rush to do anything. And I wouldn't say I pick and choose. When it comes to producers picking people for roles I don't think it's between me and Tom Cruise, do you know what I mean?
When I auditioned for 'Wedding Crashers,' the producers had never seen any of my other work except for Bond. I got 'Wedding Crashers' partly because I was a Bond girl.
TV producers want ratings and are willing to do nearly anything to get them. They gin up artificial conflicts and create an urgency for even the most minor of economic data points.
You can't make money on Broadway. You make nothing. You maybe make like $1,350 a week after you pay out all the producers.
I've had lengthy discussions with European farm leaders. It is clear they have an agricultural strategy to support their producers and gain dominance in world agricultural trade. They're gaining markets the old-fashioned way - they're buying them.
Producers are now employees, not creators.
Most countries in Africa have the capacity to be great agricultural producers, but they do only subsistence production. So a family will produce for themselves and nothing more. Why? Because of the systems: The markets are not there to go beyond.
Granted, the writers, directors, producers, and that community make a great deal of money. But they might be choosing to do a whole lot of other things for the living they make.
Working on 'NYPD Blue' and '24', those two series, I did full runs on those. It's great work, but everything has to align. The producers have to want you; the network has to want you; there has to be great writing; and it's not as easy as it may appear to the outsiders to make all those things align.
It's nice, because after you've worked with various directors and producers enough times, they start to know your voice and what you're capable of.
To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.
Dino De Laurentiis
The first thing is that we're being attacked by both the Writers Guild and the Producers Guild. Both of these groups are trying to diminish the importance and strength of the director. They're trying to do it through both frontal and side attacks.
We're all unique as actors. To yourself, you are unique. You have to think, 'I'm me. I'm not going to bunch myself with other people.' Agents and producers have to get you into a box to accommodate their limited imaginations.
I've never let producers tell me what to do. Even when I was making television, I always did what I wanted to do, and if I couldn't, I didn't do it. It was a freedom that, these days, young directors starting out don't have.
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 can honestly say that the fans inspire. There's an unexplainable rush that comes when I'm in the middle of a set and the energy from the fans hit me. I also get really inspired through collaborations. I've learned so much from the emerging producers I've worked with just as they've learned from me.
The levels of poverty in 1933's rural America were unimaginable to us now. The 1933 Farm Bill, which introduced unprecedented government control over agriculture, was a reaction to the specific problems facing producers at that time.
I feel the producers really exploited my lack of talent at this time. I looked like an idiot up there. I want to be good, not something that people will laugh at.
Good acting is about being as natural and calm as possible. These days producers have such definite ideas that you have to be prepared to do whatever they ask.
I like home recordings and studio recordings just as much as each other - I don't think one is better - but for this record I wanted to see what I could do in a real studio with real producers.
I love working with producers, like doing the record with Laidback Luke on 'Turbulence' and working with Afrojack on 'No Beef.'
Almost all the producers I know and dig, like Quincy Jones or Brian Eno, are really musicians first. I'm a composer, an orchestrator, an arranger and a musician first. I know how to write and rewrite songs, and the genius is really in the rewriting.
Fortunately, when it comes to meat and poultry, I have the really wonderful situation of having producers and processors that produce and process a very high-quality product.
I think I've been asked a lot more than most TV producers to go on-camera. But I just do what I do and don't think about the package.
C. S. Lewis
Martin Luther King, Jr.
Leonardo da Vinci
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