Quotes of All Topics . Occasions . Authors
HBO is not an advertiser-based model, it's a subscription model. So what's significant to HBO is not necessarily the debut of an episode, it's the cumulative numbers.
I worked with HBO on 'Recount,' and we had a wonderful experience together. I'm such a fan of HBO and how much flexibility they give in character as well as schedule.
A lot of people assumed for all those years that I was the official announcer for HBO because I had done almost all their fights. I worked on all of them independently.
I think people tune in to watch a football game because they want to watch a football game. If they wanted to watch a stand-up comedy show on HBO, that's where they'd go
The reason I got a break in Hollywood when I moved here a few years ago is my good buddy, who I was on the beach with when he was a publicist, is now the chairman of HBO.
I just love shows that don't hand everything to you, that ask you to be smarter. I think that's something really important that HBO has done to change the landscape of TV.
Sometimes in stand-up, you want that late-night set where you get that five minutes, then you want a half-hour special, and then the crown, if you will, is an HBO special.
I'm going to sound like an egomaniac, but I'm proud of so many things. I feel proud of my book, 'I'm Just A Person,' proud of my HBO special. I'm proud of a lot of things.
I work in the '60s more than I've done anything else. I did a movie, called Down with Love, in the '60s. I did a movie for HBO, about the Johnson administration in the '60s.
I did an HBO movie called 'Cinema Verite' where I played Candy Darling. That was really, really cool because I got to meet James Gandolfini and Diane Lane and Thomas Dekker.
I did the first HBO special ever in 1975 at Haverford College. Cable was new then: HBO was a Time-Life entity, with maybe 400,000 or 500,000 subscribers and maybe 50 employees.
When I think back on the work that I've been able to do and the work in my career of the highest quality, a huge portion of that has been on HBO. That didn't happen by accident.
Typically with HBO shows, the ninth episode often winds up being a big one and when lots of exciting stuff happens. And then the tenth one is the more placid, character-based one.
Jon Hamm was the first I thought of for the other role in [Keeping Up with the Joneses], I recently worked with him on Clear History, an HBO improv movie that we had done together.
A lot of filmmakers from my generation were lucky enough to have their work more or less perpetuated by people who saw them originally on TV and on HBO and certainly on home video.
I'm very committed to and interested in CNN's journalism and our magazines and our movie studio, not just HBO, where I grew up. But I do have a fondness for subscription television.
The more unique your film is and unusual it is and difficult it is, the harder it is to get it financed. That's why a lot of good filmmakers are doing television. They do HBO movies.
It's nice to be able to sit down and have a discussion about something for more than four minutes, and not look at your watch and go, 'Oh my God, I just spent $40,000 of HBO's money.'
Working with HBO was an opportunity to experience creative freedom and 'long-form development' that filmmakers didn't have a chance to do before the emergence of shows like 'The Sopranos.'
I'm doing another Churchill. I did a Churchill for HBO and that was up to 1939 and there's talk of the war years. They were going to do it this fall, but the script wasn't going to be ready.
I did this thing for HBO called 'Strip Search' with Sidney Lumet, who was one of the best directors I've ever worked with. We actually had a rehearsal period before we shot, which is unusual.
I think it's weird that they're trying to make us be negative about 'Sex and the City'... Not HBO, but the press. Really, they're dying for us to say something negative about 'Sex and the City.'
Any time you are in the content creation business, you have to leverage that content in as many ways as possible. DVD is one valuable secondary growth channel for HBO. Maybe the Internet is next.
As far apart as they are theologically, Mormons and evangelical Christians may have more in common with each other anthropologically than they do with secular Americans watching 'Big Love' on HBO.
You know, I had never heard of the Tulsa Riots - and I think something like 42 percent of Americans hadn't - until 'Watchmen' on HBO. And that's just crazy. I really saw how history is manipulated.
The reality is, 'Game of Thrones' has been a successful show for HBO, which has put us in a position to come and pitch another show and get them excited about it. And that's what helped get us here.
I was definitely a child of the '80s. Cable TV was new. I watched a ton of movies and a ton of TV. HBO would show the same movies over and over again, so I'd watch the same movies over and over again.
Frankly, with HBO and Showtime and cable shows, the DVD box sets and all, you can have a product that doesn't make you feel like as soon as it's projected, it's thrown away. It's really a piece of art.
My first job out of college was with HBO. I worked in a small sales office in Chicago. So, I can say that even when I was just a little, low-on-the-totem-pole assistant for HBO, they were always amazing.
The goal is not to just do 'Video Game High School' every year. We want to grow into a real content production company. We want to be Pixar or HBO. We want to make five series a year or 10 series a year.
I am a little wary of entering another situation where I would just be another director for hire and I've been doing this in one form or another since I was twenty-two doing documentaries for PBS and HBO.
A little of the sketch character Pootie Tang went a long way on HBO's now late, probably soon to be lamented 'Chris Rock Show.' So it's surprising how much fun the character's film debut, 'Pootie Tang,' is.
HBO is undeniably a leader in meaningful storytelling in a wide array of formats. I'm honored to join the REAL SPORTS team and look forward to continuing my fervor for uncovering unique and impactful stories.
I'm the luckiest women because I do get to spend a lot of time with Gloria Steinem , and not necessarily talking about the show [ HBO's Ms.] - but talking whatever she's working on, and going to events with her.
I think network television is really hard because it has to sail right away. HBO's so much more nurturing, patient. They think it takes a while for a show to kind of congeal and figure out what its strong spots are.
I was a big fan of the show 'Deadwood' on HBO, which was created by David Milch. And as soon as I heard that all of those characters on Deadwood were based on real people, the first thing I did was Google everybody.
'Behind The Candelabra' is an HBO movie. It's the Liberace story. Michael Douglass and Matt Damon. I play a small part in it. I play a choreographer who introduces, brings Matt Damon to Las Vegas for the first time.
I landed a job at HBO, working for two years on the 'The Alzheimer's Project,' which aired in May 2009. I was fortunate to work with a great mentor, producer John Hoffman, and the amazing doc filmmaker Susan Froemke.
I think the thing that really started setting my career on the course that it's on is when I did '1000 Cats' on 'Funny or Die Presents' on HBO. That's what I feel like kind of got me a little bit more into the system.
We do have American Idiot picked up by HBO and I wrote the record and concept to it. [We have] the writer Rolin Jones and [director] Michael Mayer [who also directed the Broadway production], so we'll see what happens.
What's great about HBO is they just care about quality. They care about the brand. They're not worried about ratings; obviously they want people to buy subscriptions, but they just want people to be into what's on HBO.
There are some extremely acceptable male comedians out there: Joel Osteen, Abraham Lincoln, the man who played Phil Spector in HBO's 'Phil Spector.' But even those guys, while insightful and amusing, aren't exactly funny.
I would love 'Awkward Black Girl' to be on television, with the right team of people who understand and get it. If 'Awkward Black Girl' could make it to HBO starring a dark-skinned black girl, that would be revolutionary.
HBO spent a huge amount of money on 'Game Of Thrones,' and it won't be able to keep spending the money if it can't make it back from people watching it legitimately. It will have an effect on the quality of the programme.
I had one kid with the birth control pill, I had one with the diaphram and I had one with the I.U.D. I don't even know what happened with my I.U.D. It never came out. But I have my suspicions because that kid picks up HBO.
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.
The movies I've made, I'm really proud of them. But the experience I've had is, people say to me, 'Oh my God, I saw your movie on HBO. It was actually funny.' Like, that's always the experience. It's a backhanded compliment.
We tend to forget that in those days before the Internet and HBO and Imax and 3-D cinema, opera was the thing. Opera and theatre. If you were a man of the world and you mingled among the happy few, you would be at the opera.
Well, it was actually - I brought the idea of doing a documentary to HBO back in 2000, when there were some press reports sort of were bandied about that there were going to TV movies based on some of the books that were out.
I really was interested in doing something for a premium channel like Showtime or HBO, just because you get to really let loose. I think they let their storylines go wherever they want, and it's really a special place to work.