Quotes of All Topics . Occasions . Authors
A lot of cop shows, because they have the restraints of having a new case every episode, the victims often become these kind of nameless, faceless plot points, and as an audience we don't feel anything for those people.
We're the guys who, if someone says you really shouldn't do an episode making fun of Scientologists, we say, 'Whatever.' Someone says, 'They might come try to burn your house down,' we say, 'We'll just get another one.'
I'm not a huge TV person, but when I do watch, it's always after the fact because I like to binge watch. It's more entertaining for me to watch these characters fresh, after one episode, instead of waiting a whole week.
I'm at a little loss in terms of my Leave It To Beaver expertise, since I never watched an episode of the show - so the cast in the pilot could have been Martians or they could have been the regular cast for all I know.
I'm not supposed to talk about the snail. The snail is, well, congratulations to whoever noticed it. It's supposed to be a thing where you gotta look for it in every episode, and it's there three times in every episode.
Human divisions would be child's play for any reasonably competent alien overlord to exploit - check the masterful 'Twilight Zone' episode 'The Monsters Are Due on Maple Street' for an example of how that might play out.
It's 'Star Trek!' It's as close to an American mythology as we get. To be a part of that storytelling after being a fan since I was a teenage boy who saw the pilot episode of 'Next Generation' air, it's all very surreal.
Every year, I looked forward to Oprah Winfrey's Favorite Things episode. I watched with my notebook computer in my lap so I could Google the items and order them for the friends and family on my holiday gift-giving list.
I think I approach my choices much the way I approach the way I consume movies and TV and stuff. I like everything, and sometimes I'll feel like a horror movie, and sometimes I'll just feel like an episode of 'Hoarders.'
I did a guest episode of 'Royal Pains,' and then right after that, 'Supergirl' happened, and I was like, 'How did I get here?' Every day, I walk on set, and I'm waiting for someone to be like, 'Ma'am, you can't be here.'
When you are editing, the final master is Aristotle and his poetics. You might have a terrific episode, but if people are falling out because there are just too many elements in it, you have to begin to get rid of things.
The thing about 'On the Doll,' I was doing 'Nip/Tuck' at the time, and I was doing only 5 or 6 scenes an episode. So I had some free time, and I wanted to do something completely different than what I've ever done before.
'The Good Wife' has actually been something, ironically, that I've watched since episode one, season one in the U.K. because it came up when I was in drama school. I always watched it. It was kind of like an actor's show.
HBO spends almost a month perfecting an episode. They shoot at the same speed that you would shoot a major motion picture, and they give you all of the things that you need to succeed. They really do support their artists.
Sometimes there were certain things in 'Limmy's Show' where I'd be having to come up with six episodes and as a result there was stuff in there that wasn't my favourite and I'd think, 'ach I'll shove that in this episode.'
I can't imagine not playing Wynonna, because I get to play so many different things. In any given episode, I get drama and comedy and horror and all the notes of life, and very few shows or movies give you that opportunity.
I'd watched every episode of 'True Blood' from the very beginning. The show's characters were in my blood, so when I started, I was really prepared. I made sure I wasn't the new guy asking stupid questions on his first day.
We end the show with something that's never been on TV because it was too big for a sketch but we couldn't stretch it out to make a whole episode because it would have been too long, but we always thought it was really good.
I think it's hugely important to have a strong episode one; you can lose an audience so quickly now. You can't afford to take the attitude that you will use the first one as an introduction and save the high drama for later.
The show that defined 'M*A*S*H' was the original interview episode with Clete Roberts. That was a way to look into these peoples' lives and investigate their situation, their feelings being away from home on an intimate level.
The 'Backlisted' podcast describes itself as 'giving new life to old books'. In each episode, John Mitchinson and Andy Miller are joined by a guest from the world of books who brings along some overlooked gem to enthuse about.
In TV, you're basically shooting an episode in 10 to 14 days; 14 days is a luxury situation. And in film, you have anywhere from a month to three months, or it can be even longer than that, depending on what the production is.
I've now learned that the most stressful day of filming a TV series is the first day of a new episode. You haven't quite banked the one you just wrapped and are wondering, 'Did I do that right?' 'Could I have done that better?'
In daytime, you're shooting an episode a day, which is on average about 90 pages of script a day. That is very hectic. On '90210,' you get to work through it a little more. You're not just flying through it just to get it done.
In its brief 14-episode run, 'Firefly' gave viewers as much chance of witnessing a horseback chase or train robbery as a laser gun and spacefight in any given episode. Snappy one-liners and silly hats were a constant, of course.
One episode of 'Game of Thrones' is equivalent to my film 'Centurion' in budget and scope. 'Centurion' has a longer running time, but that's kind of the only difference, and I think people now, if they want drama, they watch TV.
I did my acting performance in 'Roger Rabbit.' I think I did a voice-over also in 'Osmosis Jones' and I directed an episode of my show years ago, 'Tales from the Crypt' and that's my endeavors in the non-producer oriented ranks.
The true story of how my husband, Stephen, and I exchanged our first 'I love you's' - chronicled in my 2012 memoir 'Brain on Fire' - occurred deep in a hallucinatory psychotic episode outside a crowded Maplewood, NJ, restaurant.
I grew up in Mammoth Lakes, and they shot an episode up there, and I was hanging around when I was on the ski team. I was very, very involved in athletics, so I didn't watch a lot of TV, but I definitely watched a lot of '90210.'
So the first season about halfway through he just sort of put us together and then broke us up all within one episode. One of the ideas is to have us do that once a year - to have everything blow up in our faces and not work out.
When I'm working in finite serials, I always think in terms of the entire book rather than the individual episode because, by far, the vaster sector of the project's lifespan will be in complete book form rather than the singles.
I loved Reece Shearsmith and Steve Pemberton's 'Inside No 9.' The way that they constrained each episode to a single location, then tasked themselves with including completely new characters every week, within a single half-hour.
California lost its way in 1994 with Prop. 187, but that tragic episode gave birth to a new California consciousness - one that will now do everything within its power to protect our diversity and the economic power it has created.
You know, it's a big version of an episode, which I think is necessary at this point because we're drawing in people who not only people who have seen the show before and are devoted to it, but people who have never seen it before.
I went to audition for an episode of 'Law and Order,' and they didn't understand why I was talking so fast, and I was like, 'No, you don't understand. I was on a show called the 'Gilmore Girls.' We had to say everything like that.'
One of my favorite episodes was the one in which Homer grew hair. That was a very unique episode, since there was a gay secretary, but that wasn't even the issue of the show-the issue was Homer's image changing because he had hair.
I do feel like I have a lot more confidence now. I can shot list the episode before I start, but then, as things happen on set, I know how to adjust so I can still execute the scene completely, and I still know how to make my days.
There's a beautifully simple sketch in the first episode of 'Smack the Pony:' two women approach each other walking their dogs and as they pass the women bark at each other, the dogs remaining perfectly calm. It kills me every time.
The amount of coordination it takes to shoot a television show is mind-numbing. There are so many things that have to be exactly right to create the correct environment for a single shot, let alone a whole scene or the full episode.
Nickelodeon came to us at the end of 2009 with a twelve episode 'mini-season' already green-lit for a new series. They let us do pretty much whatever we wanted with it, as long as it was in the 'Avatar' universe and featured bending.
I watched the first episode of 'Survivor' in the spring of 2000, thinking I would hate it. My natural inclination steers me toward the indoors not only in my actual life but also in the settings of the entertainment I read and watch.
The thing about Netflix is that you get more minutes in your episode because there are no commercial breaks. You have time to let things breathe and be quiet. You get to see an entire scene play out instead of just jumping halfway in.
We knew all along we were making a good show, so its success was not a surprise to me. What has surprised me is the magnitude of this show's success. More people see me now in one episode than saw me in 20 years of movies and theater!
'Leave It To Beaver' is a fairly famous show in America, but I don't think it travelled. It was one of those typical '50s family comedies. I was in the pilot episode as sort of the dark presence: my character was called Eddie Haskill.
When I was making films, we had a lot of time for the fighting scenes. But in TV, we don't have much time to think about how to do the fighting, because there are only seven days for an episode. You have to hurry. This is a challenge.
What can we expect from this latest crop of indie directors who have been sucked into the franchise factory? I'm especially curious about 'Star Wars,' which will feature an all-indie crew after J. J. Abrams finishes with 'Episode VII.'
Of course I loved 'I Love Lucy' and saw every episode over and over again. I found it heartbreaking that Ricky got to be famous and have an exciting life at the Tropicana while Lucy was stuck in that terrible apartment with the Mertzes.
Every episode of 'The Conversation' was created to be a platform for women, to connect women, and to allow women's voices to be heard as much as possible. That's why I launched that show on a television network and online simultaneously.
I feel like it's a dangerous and dark world if 'Sunny' becomes mainstream comedy. If you were to turn on CBS at 8 o'clock on Thursday and see an episode of 'It's Always Sunny In Philadelphia,' I don't know if I want to live in that world.
We did an episode on Good Times which came out of a newspaper article about the incidence of hypertension in black males being higher than whites, and increasing. So we did a show in which James, the father on Good Times, had hypertension.