Quotes About Flexibility

People are really set in their ways in how they produce records, and I was at least open enough to where I knew I wanted to do something totally different.

One of my life principles is that if something isn't working, doing something harder isn't necessarily going to produce the same result.

If an employee can demonstrate results produced in a way that the company didn't think possible, then a new way forward can begin to take shape.

Any part I do is a marriage of the words - what the playwright or producer or show runner's vision is - to how I would play it. It took me a while to get rid of 'Oh, they want it this way, so I'm going to do it how they want it.'

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.

I work with any producer that brings me a hot beat, but you don't always know if it's a sample.

You can't be in a bubble being a producer. You have to keep up on what's happening at all times.

With our producer, Greg Fidelman, it was really a joy to work with him and to try different things and experiment.

As producers, you always have to go with the flow and be ready to embrace change, and drama and whatever happens.

Producing a series is like being Lewis and Clark: You know where you're going, you just don't know how you're going to get there. When people say, 'You should create a bible for your show,' I say, 'You don't want a bible. It'll prevent you from making discoveries along the way.' And that's what happened on 'The X-Files.'

I got written out of 'G.I. Joe' and was like, 'Welp, I'm going to go back to what I do: writing and producing comedy.'

I thought I was going to be YG's DJ forever. I didn't plan on producing; I just picked up producing and got good at it.

The only advice I would give young guys is to keep your ears and eyes open. Never see yourself as a finished product.

Manufacturing capacity is not a rigid level against which one bounces. When you are dealing with a world economy, with a flexibility to employ production facilities other than one's own, then the concept of capacity is vaguer.

Like many entrepreneurs, I never have two days that are alike. One thing that's consistent is I wake up early, around 4:30 A.M. It's my most productive time of day because I can think and work uninterrupted.

You just want to put the ball in play, whether I want to throw it downfield and it's not there, so I check it down, and it's a productive play and let the running back get a first down. Just keep the chains moving.

I definitely had some heated but extremely productive chats with screenwriter Justin Monjo, but while it's my story, it's their movie, so I have to allow for compression and poetic license.

If I can get some time off and still be productive and go 85-90 percent of the plays, that's fine with me.

I'm incredibly lucky that my profession allows me to be where I choose, really.

I get bored pretty easily and I don't want to get locked down in one profession.

I have a number of projects that I've been dreaming of making ever since I was a child. But I am also very open to the chances of life and the chances of my profession.

I'm in a profession where if you're planning more than six months ahead, you're doing it wrong!

I never had anything planned, like, 'When I'm 40 I'll be coaching here.' A number of people in our profession have done that, but my thing was always, wherever I was coaching, to work hard, do the best you can, and if it happens, it happens.

My profession is to change myself according to my role and I work hard on it.