I remember when I did my Enron film, my executive producers at the time felt very strongly that I should mock the Enron executives more viciously because everybody wanted that moment.
You don't need to be able to string a sentence together in a way that is elegant or even vaguely meaningful to produce a bestseller - as Dan Brown has demonstrated time and again.
So whenever I had some in-between producing time down in my studio I popped a tape in and started working on it. Working a little bit at a time, it actually took almost four years.
And people say it all the time: 'You're a celebrity.' No, I'm an actor. I'm a producer. I'm a director. I'm a toad. I'm roadkill. I'm anything but a celebrity.
When you first get out of doing a show for a long time where you played a teenager, casting directors and producers all still look at you as being the character that you played for so long.
The American Civil War produced carnage that has often been thought reserved for the combination of technological proficiency and inhumanity characteristic of a later time.
It took 17 years to get 'Rambling Rose' made from the time Calder Willingham wrote the script adapted from his novel. Ed Scherick, the producer, was interested in it. Martha Coolidge was interested in directing it.
I knew at the time that that wasn't the part I would be doing, they just wanted a screentest so they could have a look at it to show to the directors and producers. Then they wrote a part for me or maybe they already had it in mind, I don't know.
It is not the time spent with the child at their activity that is going to produce the highest level athlete. It is in supporting the child in an organized activity - and Bill alluded to this - so the child can find what they truly like to do and let...
In England, I've never had to drive myself to work. I don't think the English producers trust actors to get up at five A.M. and get to the set on time.
Producing is the hardest of the three because there is almost no closure. Every time you solve a problem, another one pops up. Directing is second, and acting is the most fun.
At that time, I was signed to Columbia Records as an Independent Producer. I spent many weeks forming, auditioning, rehearsing and recording demos for Kenny, who was finally signed to Columbia Records.
I was probably never going to get to do the kind of things dramatically that I really wanted to do, so I returned to theater from time to time, and to write, and produce. It's by no means sour grapes.
Whatever I own is temporary, since we're only here for a short period of time. It's what we do and produce, it's our actions that will last forever. That's real value.
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.
I can't really recall the first time I was noticed by a producer but the first time I was on television was doing Daytime for Another World, which I started in December '75 and went until December '76.
[On Lester] Halley Reed: He wants to produce something of mine. Clifford Stern: Yeah. Your first child.
Caroline Bingley: I can't help thinking that at some point someone is going to produce a piglet and we'll all have to chase it.
Franz Liebkind: Hitler... there was a painter! He could paint an entire apartment in ONE afternoon! TWO coats!
Max Bialystock: You have exactly ten seconds to change that look of disgusting pity into one of enormous respect!
Leo Bloom: My blanket! My blue blanket! Give me my blue blanket!
