Producer Quotes

If you believe in something, you must will it through, because everything gets in the way. Everyone tries to steer the ship off course.
Television networks are a lot like automobile manufacturers or anyone else who's in commerce. If something out there catches on with the public... I guess you can call it 'market research.'
A lot of what I do as a showrunner is anxiety control. People get nervous when they don't know what's going on, so a big part of my job is making sure everyone has all of the information all of the time.
Don't forget, I've been fired by studios; I'm not the studio's guy. I'm a guy who can work with studios, but if you ask any studio, I stand up to these people.
I created a show called 'Crash' for Starz, which was their first original drama, and that was not a good experience. I had a great time working with the cast and crew, but it was a young network and an intrusive studio, and to be honest I didn't really enjoy the movie 'Crash.'
I think horror films always have to be as simple as possible.
I went to NYU undergraduate, then for a Master's in English, and got a summer job at St. Vincent's. I was a ward clerk handling everything in an intensive care unit.
If you're going to run a small business, you need to know what everyone is doing, be the first one in and the last one out, and work weekends.
It's better to grow your employees, steer them into a place that they can learn and succeed, and want to work hard and be loyal, than to have a revolving door of employees. That's demoralizing.
One of the things I've learned by working on the 'Walking Dead' and other TV shows is to be more tolerant of other people's process.
Sharing information with employees makes them feel invested.
That's the holy grail as a TV writer, to work on a story that you care about and to put it out there and for it to find the audience and connect with fans and connect with critics.
The key things I learned as a hospital administrator are to be organized, communicate, and be flexible.
When you're managing an emergency department, you're trying to keep everybody calm, so when an emergency comes in the door, everyone can do their best work.
A producer is always behind the scenes, even more in the movies - nobody sees you. I didn't even meet most of the actors. When I worked on 'Top Gun,' I never met Tom Cruise. You were always in the background.
Dance music doesn't care where you live. It doesn't care who your friends are. It doesn't care how much money you make. It doesn't care if you're 74 or if you are 24 because... 74 is the new 24!
Even when disco went out, I could still make hits. Once I had so much success, every idea became concentrated. I had so much confidence. I knew how the bass should sound, what rhythms would work. The tempos I knew: 110 to 120 BPM. I knew they would dance in the clubs in New York or anywhere.
I designed a sports car, the Cizeta-Moroder, with Marcello Gandini from Lamborghini; he did the Countach, of course. The Cizeta cost $600,000, but we could bargain - if a Japanese businessman says he wants it for three, fine.
I had an album out at exactly the same time as 'Love to Love You' called 'Einzelganger,' and it's great, all electronic. I'm using a vocoder, doing all this cut-up stuff on there, but no one knows about it.
I had an idea for a technologically advanced luxury watch. I got involved in digital art and neon painting and put on shows of my work.
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