Producers are now employees, not creators.
New York is the Hollywood of the publishing industry, complete with stars, starlets, suicidal publishers/producers, intrigues, and a lot of money.
I had to endure the worst time of all in terms of racial discrimination in Hollywood when I first started out. It was inconcievable to American directors and producers that a Mexican woman could have a lead role.
The decisions that Ellen made on her show were between her and her producers. I supported her decisions. I was there to hug her when she got home.
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.
I have a very large forehead. I have a pronounced skull. Maybe producers think that there is a lot going on up in there.
The writers on my team and the producers and executive producer should be called talent. We anchor four hours on Saturday and three on Sunday. How they do that astonishes me.
There are times when I think, if I were a bit more famous, life could be easier in terms of work because producers want bums on seats, and they're going to get bums on seats if they get a name, if you have had that series on telly.
Obviously with the onset of cable and satellite, there are more opportunities for programming and original programming, so it creates more opportunities for actors and producers and directors and everything.
Our job as producers is to make the music sound as good as possible.
I can read a crowd pretty well. I know what to play and know how to keep it interesting for them and for myself as well. Most of the other DJs are more like producers so they become famous because they make hits and then they start DJ-ing. But I'm more from the other way around.
If you consider the definition of authenticity, it's saying something and actually doing it. I write my own songs. I made my own videos. I pick my producers. Nothing goes out without my permission. It's all authentic.
The process is intense and the producers, who are intelligent men, are bringing in new people for a fresh look at a complicated project that has been in the making for 10 years.
When the producers of 'Why Poverty?' came to me to do a film about poverty in the United States, I asked if I could do a film about wealth instead. I tend to make films about perpetrators, rather than victims.
Usually, new producers and writers want to put their stamp on a show. They don't want to continue what's working. They want to reinvent the wheel. It's an ego thing.
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