When I was in the writers' room, all these writers were like, "Ugh, another star that they gave a writing-producing credit to." But then within like an hour, they were like, "You're really a writer." "Yeah, I really am. I'm a writer, and a director, and a producer, and an actor, and a painter, and I do all that stuff in the Lush Life." It was great.
In documentary, which is the only thing I'm really very familiar with, women are very easily relegated into a producer role.
War is both the product of an earlier corruption, and a producer of new corruptions.
So I became a producer because I knew one of the reasons was they didn't do them the way I thought was right.
I am a producer who NEVER discusses her budgets, EVER, ever ever.
I had very few skills. If I hadn't been a producer I'd been a failed actor. That would have been really disastrous.
If I was going to do anything, I'd be a producer, only because I'd like to have a say in what gets made and what doesn't.
Calling all dance music producers! I'm available.
I want to know everything. I'm probably a bit of a pest for the producers because I ask a lot of questions.
As a producer or financier, you are going to go where you get the best bang for your buck.
I am such a bossy producer and such a control freak that there's a part of me that really longs to be bossed around.
Frequently producers have partners that they never let the public know about.
The producers and writers of dance music are becoming the stars, not so much the DJs.
So long as the product is sold, everything is taking its regular course from the standpoint of the capitalist producer.
I have to admit that I am not great at selecting music for CDs! I have a few personal favorites, and then I let my producer take it from there!
I'm at the mercy of others because I'm not a director. I'm not a producer. I'm not a writer.
Even before I became a recording artist, I did other things in music. I was a teacher, I did studio work, and I was an arranger and a producer.
My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor.
I wanted to just be a filmmaker, and I thought I wanted to do all the aspects, and it seemed like as a producer was the best way to do it, because I could have... You never have control on a movie, but you have as much control as you can. You can push it through, and you can hire the right people.
I wanted to just be a filmmaker, and I thought I wanted to do all the aspects, and it seemed like as a producer was the best way to do it, because I could have... You never have control on a movie, but you have as much control as you can.
When I make my own music, there is no external producer. I just do everything as quickly as possible. I try not to overthink things.
Real movie producers arent this nice.
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.
I haven't seen a lot of young producers who work the floor in a traditional way.
I actually wanted to be a producer because I like to run things.
