Executive Producer Quotes

As an executive producer, I feel really lucky.

As somebody who has been an executive producer on a television series, I can tell you that increasing director diversity is as simple as hiring more women and more people of color.

I think, in some ways, there’s a point as a television writer that ‘executive producer’ is the natural credit you get, and it can be a vanity title, or you can make of it what you want.

I’m a mom. I’m a wife. I’m an actress. I’m an executive producer. I’m an author. I’m an entrepreneur, and I’m a sister and a best friend.

I was the only person at Univision who had complete creative control of my own show, by contract. They didn’t like that. I was the executive producer; I owned the studio where we taped. I decided who went on my show and who didn’t.

My childhood friend, Shiva Maheshwari, who is also an executive producer of ‘Jung,’ introduced me to Young Zwann. I loved his vibe and instantly fell in love with his lyrics.

You know what, I didn’t see myself being an executive producer.

When I’m hired just to be an actress, I don’t have to worry about anything else but showing up on set, making sure I know my lines and making sure I know what I’m bringing to the character. When I’m a creator and executive producer, I have to worry about the whole thing.

My media career came about by accident. In 2006 I was introduced to Roger Ailes, the President of Fox News Channel, by a friend of mine who was an executive producer. Ailes put me on the air one day, and one week later, I was offered a contract.

Let me tell you about being executive producer. It is not a job, it’s a title. Don’t go around asking executive producers what they do because they don’t do anything, alright?

There’s an inherent idea that if a Black executive producer and a Black director are going to do a movie based on a Black writer’s book that everybody is going to be Black.

Part of the fun of working on ‘Beverly Hills, 90210,’ for me, was that I got a lot of freedom from our executive producer, Chuck Rosen, to add things, change things. I got a lot of freedom to be creative.

Chemistry is not anything an executive producer or writer can orchestrate or plan; you just hope for it.

Earlier in my career, I needed to be the writer, casting director, set designer, leading man, and producer. I’ve been eliminating a lot of those jobs. I’m an executive producer right now. I still get to pick the best screenplays.

I was creator and executive producer of ‘The Brady Bunch’ on TV. The stage version was done by others, but it was a repeat of the old scripts. The ‘Gilligan’ musical is a completely original work with all seven characters and 18 original songs.

When you do a first movie, you’re contractually supposed to do the second one and then you don’t do it, you become an executive producer. That’s why there are a ton of directors who have executive producer credits on other movies.

It’s funny, because ‘1600 Penn’ was the first time I really started to read the reviews, because I am an executive producer and I wanted to see what people were enjoying and not enjoying as a means to an end, right?

When I saw the rise of the anti-Christ Donald Trump, I was like, ‘Hell no.’ We can’t be in a country where we love celebrities so much that we let the executive producer of ‘Celebrity Apprentice’ become the GOP nominee.

I always wanted to find my voice and claim my tone, but I was doing it through the steps of being a TV writer. I had the executive producer title. I was running the room.

I was an executive producer. I’ve done a lot of jobs and I think each one helps you get closer to what you want as a director. It also helps you – when you work with different filmmakers – to absorb, to adapt, to know what to watch out for, to know pitfalls.

I’ve seen too many comics who got their own shows and were undone because they worked for an executive producer who didn’t understand their comedy or their sensibility.

I, at times, was disappointed when my songs were neglected by executive producer Park Jin-young, but learned a lot in the journey finding out what would appeal to a wider audience.

If a thing is going to represent you, your vision, you should be involved in every aspect of that thing. I like my role as executive producer on anything probably as much as performer.

I never doubted that if I applied myself and tried to learn that I would good at it. I’ve had a lot of lucky turns, no doubt. But it’s actually been a fairly direct line from control-freak, cartoon-obsessed kindergartner to control-freak, cartoon-obsessed executive producer.

When our executive producer, Julie Plec, told me I was going to become a hybrid I got really excited. Because there’s a lot of responsibility that comes with that, especially in our world of ‘The Vampire Diaries’ where Tyler is the first successful hybrid that’s made.

I’m an executive producer.

If an executive producer has written a certain line, and an actress says it, and it’s not very funny, you don’t dare go to them and say, ‘I don’t like this,’ because it will make your life miserable.

I’ve been accused of being unambitious, but what I do takes up every minute. I’m executive producer, I’m a writer and the host.

I was an artist, I was executive producer on my first album, so I’ve always had to manage both. I couldn’t get a record deal. It wasn’t by choice – I couldn’t get a record deal, so I had to figure it out.

I was offered the role of the Reverse Flash on ‘The Flash’ by Executive Producer Andrew Kreisberg and Greg Berlanti, who co-created the series with Andrew. I said ‘yes’ immediately because I had worked with those guys before on the show ‘Eli Stone.’