When I auditioned for 'Wedding Crashers,' the producers had never seen any of my other work except for Bond. I got 'Wedding Crashers' partly because I was a Bond girl.

I don't even know what a traditional producer is or does. I feel like the job is like being a coach, building good work habits and building trust. You want to get to a point where you can say anything and talk about anything. There needs to be a real connection.

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.

I am thankful to my fans and producers that I am on my toes all the time to do better. The day you feel you have achieved it all or you are something, then you are gone, and that thought never came to me.

I am extremely thankful and grateful to Dhanush and Wunderbar Productions. It's a blessing to work with them because he is a non-interfering producer.

The latest technology is not always good for anything except to the producers of the technology.

The first thing is that we're being attacked by both the Writers Guild and the Producers Guild. Both of these groups are trying to diminish the importance and strength of the director. They're trying to do it through both frontal and side attacks.

I have a lot of respect for, always dig, the crew. Sometimes a lot more than the cast. But a good run production team is paramount to making a good film. You just can't it done without a good line producer, without creative producers, without people who are making stuff happen.

I have never, ever argued about money with any of my producers because that is the kind of relationship and understanding I have with them.

I've been singing for six years. I've been in and out of the studios with top producers, but it wasn't something I was ready to express to the public or to the press. I wasn't ready to come out. I wanted to perfect my voice and be 100 percent positive that I could come out right.

That's one of my pet peeves, that big guys apparently don't have an I.Q. above 50 in the eyes of audiences and producers.

You can write ten versions of a scene, and then, on the day, discover that something in the original scene worked. It's hard on writers. Hard on actors, hard on editors, hard on me, hard on the producers, who require patience and confidence. But I can't get to the end without going through this process.

Temperamentally I'm not a natural producer, because I don't have the patience.

I want to be known simply as a producer who makes music.

As a DJ, people expect a certain sound and a certain danceability for the music. As a producer, I really like to let go of any rules that may exist.

I think that what 'Oz' did is it spawned a great generation of television production. But people know its place in television and just in great dramas. It's the foundation of my career. Most producers, show runners, directors, and casting directors put me in movies based on my performance in that show.

You are treated like a cog in a machine. The director might be obsessing so much with the stunts that he doesn't notice your performance, and the producer may just be an insane money man, but I have no snobbery about the movies.

I've found that if you wear a beret, people think you're either a cabdriver or a producer of dirty movies.

As a producer, the most important call you can get is on Saturday morning, when the Friday-night grosses come in. As a director, you want your film to be successful. But your outlook is a bit different. You become very conscious of the reviews.

Whether you're a DJ, whether you a rapper, whether you a producer, take it seriously. This is an occupation - you can get paid - don't expect to blow up overnight, and appreciate when you do get paid any type of money, appreciate it.

To my knowledge, there is no blacklist. But there is a mindset, even among liberal producers, that says 'He may be difficult, so let's avoid him.'

An actor is supposed to emulate life. Instead, alas, many are imitating other actors. You don't fashion your knowledge of theatre or your approach to a role on the basis of what other actors have done. This kind of thinking is a great danger, especially in dealing with TV producers who frequently say things like, 'This is a Sean Connery type.'

Changes are required as far as scripts are concerned. People need to open up and experiment in story lines. But we don't have good script writers, producers or directors. The Punjabi industry lacks cinema knowledge and professionalism. It is the saddest part.

Since we launched the original 'Pop Idol' in England, I've remained close with Simon Fuller. Working as executive producer on 'American idol' for its first seven years not only was an inspirational journey into the heart of American pop culture, it opened my eyes to the untapped potential of the incredibly dynamic young people in this world.