Quotes of All Topics . Occasions . Authors
In 2005, I played Count Fosco in 'The Woman In White' on Broadway. It was a disaster. I was physically run down and terribly homesick and I just knew I had to leave. I lasted three months before the producers released me.
When you look at Apple News and where it started, I want it to be available to everyone. But we also want to make sure the news producers are legitimate... We're very concerned about what's news items and what's clickbait.
Since 'A Dangerous Method,' I've had meetings with everyone from J.J. Abrams to the producers of 'Drive.' And they all have the same thing in common; they say: 'Wow you worked with Cronenberg.' He gave me instant film cred.
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 was in a commercial when I was three. My godfather was a director and a producer of commercials. He took me in along with his kids and I couldn't remember my lines. I giggled my way through the commercial and they kept it.
I don't live in Los Angeles. I work in Los Angeles, and even that - I audition in Los Angeles; I very rarely film in Los Angeles. I don't hang out with producers on my off-hours, so I don't even know what that world is like.
I'm not in the movie business anymore, and hardly any 70 year olds are. I always ask the producers: 'Are there no 70-year old vampires?' Apparently there are not - or even zombies for that matter. I guess they all get eaten.
What the Sex Pistols made sounded like quality, because they had a big label and top engineers and producers. But punk rock shouldn't be quality; it should be f**king mania. It should be gnarled, a glorious lo-fi live sound.
I don't know why the guys with the big money don't find five terrific young producers and give each of them enough to commission a musical and to live on for a year. You'd be likely to get at least one project with a future.
The best complement I ever got from the public or producers or directors is that I just totally blend in and become the character and they don't notice me and that the play happens or the movie happens or the TV show happens.
The relationship with producers has always, in my experience, been, uhhh - tense. Challenging. But the actors and crew become like family. You're there all those hours - more than on a movie. You come to depend on each other.
One of the reasons - I stopped doing films for about a year and a half because I felt that I was being somewhat used by producers that were trying to get their movies made within a certain budget range and not take care of me.
We as comics do want an immediate response from the audience. It's really quiet on the set, and there are only the producers, and the director, so a comic is looking for someone to give a reaction, even if it is the camera guy.
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
I kept having the producers of 'Fog in August' take out some of the Nazi terms and phrases. I don't want audiences to look at this doctor and say, 'He is a Nazi monster' and think that it has nothing to do with our lives today.
DJ Sliink is amazing, and his production is on the next level. There are a lot of EDM producers that I'd like to work with, not for the sake of having an engineered record, but for the fact that I love their production and music.
When historians write the last pages of their books, and the producers of history documentaries sit down to edit the final minutes of their programmes, there is often a strong urge to look to the future and emphasise the positive.
If someone tried to take the hierarchy thing too seriously - for example, being lovely to producers but moaning to runners about the tea - that would not be accepted on 'Harry Potter'; someone would pull you aside and have a word.
On 'Queer Eye,' I really get to see the way someone lives. They know the Fab Five are coming, but they don't know when or how, so our producers make sure they don't clean up so that we can experience exactly how they normally live.
Producers are the people behind the biggest artists in the game. We definitely deserve that title to be considered as an artist, because producers don't get the recognition and the credit that they really deserve a lot of the time.
There are always discussions about casting stars in lead roles in theater - especially when you're working with commercial producers - and it's not something I'm against, not at all. But any casting has to be right for the project.
The popular image that Hollywood is ruined by difficult prima donna actors is nonsense. They're certainly very nice to directors. I can't say the same about producers, who I found difficult, paranoid, and certifiably insane, mostly.
Soaring prices for crude oil, falling production surpluses, wild speculation in commodities, a rush into the precious metals, turmoil in the Middle East, assertive oil producers: it is 1973-74 all over again, and at dictation speed.
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'm transitioning from being a starving artist. My producers had success outside of the Daniel Caesar brand, so they invested money, time and resources. They funded the first video, and a lot of other things that I'm so thankful for.
This is an exciting time for farmers and ranchers of all types and sizes as agriculture is a bright spot in the American economy. In 2011, agricultural exports hit a record high and producers saw their best incomes in nearly 40 years.
But when I did think about it and looked at the whole package - the producers behind the show, the writers, the cast I would be working with - I would have been a fool to turn it down just because the role for me was another gay role.
Here's the mark that a lot of people miss nowadays. Producers missed. They leave out the heart and soul. And that's what I learned from Sammy Davis, Jr., from Frank Sinatra, is when you went to go see those shows, you got to know them.
Hollywood studios bury that stuff - actors who punch directors in the face and try to run producers over with cars - insanity, criminal behavior. But the studios are invested in that star, they can't have that person's name dirtied up.
I'm very fortunate in that all the mediums I work in are extremely collaborative. Movies are probably the most solitary on a day to day basis, but even then you have producers and studio executives to work with and bounce ideas off of.
The stressful thing about being an actor is, like, you have to kind of audition again and again and again, you know? You go in one time, and you go in again for a director and then again for producers and then again and again and again.
Because I've worked with Netflix from the beginning, and that's my first job, I only want to work with creators, producers, and networks that are pushing the limit and putting people on the screen that haven't had their stories told yet.
Holland is a really small country, but with a very strong club and festival scene. Dance music has been huge in Holland since the late eighties. So there were a lot of opportunities for producers and DJs to release records and play live.
I've always felt a very strong affinity with Jewish people. Over the years I find I've become very friendly with certain people I've worked with - actors, producers, whatever - and then two or three years later I discover they're Jewish.
Starbucks goes to a great effort, and pays twice as much for its coffee as its competitors do, and is very careful to help coffee producers in developing countries grow coffee without pesticides and in ways that preserve forest structure.
Many people who I respected were disappointed when I started 'Wine Library TV.' They thought I was dumbing down wine, but I always knew I was one of the biggest producers of new wine drinkers in the world, and people are realizing it now.
I've worked with producers who have told me to lose weight, and I'm not overweight, but they want you to look strange, anorexic, horrible. It's odd. It's like they are exerting a power over women, that they want them to look really frail.
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.
Think of it: television producers joining with newspapers to tell stories. It's journalism of the future. Advertising will follow the crowd - the 'crowd' being viewers and readers, of course, which could bring revenue back into journalism.
If Rajamouli is the brain and heart of 'Baahubali,' the producers are its skeleton, holding everything together, and the fans are the blood. Rajamouli deserves all the laurels, but he's so modest that he diverts all of it towards his team.
Producers are men who will keep their heads in the noisy presence of writers and directors and not be carried away by art in any of its subversive guises. Their task is to guard against the unusual. They are the trusted loyalists of cliche.
I've been kinda fascinated by misfits, outcasts, and downtrodden people. I've identified with them. 'Blade Runner' probably got me more work than any. It convinced some producers that I could play something other than a rural crazy, I guess.
When a movie is about to come out on its initial debut, there are a lot of people involved - the financiers, the studio and the producers and also, many times, the foreign distributors. So it is a time of tremendous pressure and uncertainty.
The first album, for better or for worse, was done over from the ages of 17-22, with a couple of different producers. Some of it was recorded in an old swimming pool, some of it was recorded in a synagogue - it kind of was all over the place.
I certainly hope that we will get more women in power, when it comes to executives and producers and directors, because the problem is not a shortage of females who are qualified to do the job. It's just that women are not favoured or chosen.
Consumers now have a voice. And the fact that consumers can be creators, producers and distributors means they can push back against brands to punish them for their socially irresponsible behavior or reward them for their responsible behavior.
All the writers and producers around us that gave us the environment where we could play. They were able to provide us with a place where we could take chances to play with things, go against the grain and do things that people don't always do.
People do care where their food, or other goods, comes from, not merely if the price is right. And that means no business can afford to ignore the impacts their buying practices have on producers and on the perceptions and choices of consumers.
I had people in 'Entertainment Weekly' talking about how they wanted to throttle me because they thought I was too disgustingly cute, as if that were my fault, you know, as if that was my fault, not the fault of directors and producers and such.
You need the words, you need the script, you need the material, you need the commitment, you need the passion, it's like we depend on writers, we depend on producers, directors depend on us and once things are in the divine order as they happen.