Ryan Murphy Quotes

A director is a choreographer, both politically and creatively.

I was running the show on 'United States of Tara' and 'How To Make It In America' where I could say, 'Okay, I'm in charge of everything now.' But it still wasn't my show.

I knew ART was was going to give me this opportunity to expand my role as a director and finally let me have a seat at the table where I could get involved in these policy discussions and producing discussions and, frankly, the financial discussions.

The nation needs"a president with brains; one who can make a plan and carry it out.

It is extremely empowering when you are making fundamental and critical decisions on different levels of production, till the final showcase on the screen.

If I will do a movie in the future, I will take it up only when I'm 100 percent sure about it.

Nobody ever launched an attack without having misgivings beforehand, You ought to have misgivings before; but when the moment of action is come, the hour of misgivings is passed. It is often not possible to go backward from a course which has been adopted in war. A man must answer "Aye" or "No" to the great questions which are put, and by that decision he must be bound.

When I finally got my break in TV, as a staff writer, I always wanted to be at the top of that pyramid. I always wanted to make the decisions. I always wanted to be the one that was saying, "This is what the show is, and this is what the show is not. This is where we're going. It's going to be this kind of series." It was just something I always had my eye on, when I started in the business.

When the President is a moralist, he needs a process that will make up for the natural shortcomings of such a style—an inattention to second-step thinking, an allergy to detail, a tendency not to see the point of having dissenters, a habit of allowing certainty to override considerations of risk. It is the National Security Advisor’s responsibility to fill a President’s strategic gaps, not to exacerbate them.

Beyond going around doing things as Secretary of State, you have to recognize that you had managerial responsibilities.

For the first ten years or so, you would always question whether the decisions were right or wrong, but you have to learn to put things behind you once a decision is made. You can't be wishy-washy about it

Part of the job of being a producer is the Vulcan mind meld, where you listen not to what they're saying but what they mean.

A big part of the job of being a showrunner is, in my way of thinking, being a good communicator because there's really no other way to have hope for getting what you want, at the end of the day.

There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.

As an actor, I was often shielded from the big-picture decisions. But as a producer, I experience all the conversations where there's pushback or a difference of opinion.

My mum was a quintessential businesswoman. She taught me problem-solving. She can solve any problem.

I'm surprised sometimes at the responsibilities you have as a director.

Usually in TV... A TV director could be anything from a main grip to just a glorified cameraman, and sometimes a director can be the person who is hired last. It's very much a producer's medium.

The only way I was going to come back to the Disney Channel was if I was in a position of more power.

I don't think there's any show that really escapes it: It's very rare that a creative producer stays with the show. As soon as the producer leaves, they cut the budget.

That's a large part of the job as governor: to create and maintain the optimal balance.

One of the biggest things about being an entrepreneur is discovering your own management style. You can learn from others and try to emulate what they are doing, but at the end of the day, your inherent personality - how you deal with events and situations - comes to the forefront.

The opening of the Frontier is not an engineering problem. It is not a money problem. It is a challenge to our ability to decide to make it happen and to think and act the right way to get the results we want, we need, we demand.

When you're the showrunner, you're the person that's in control of most of the details, and to be able to take all that and then to step right behind the camera and to have a direct line of communication with the crew and with the actors - to not be delivering that through another person - is pretty freeing and extremely stimulating.

I have a lot of power. Here, I can decide: training at six in the morning! Training 11 in the night! But my style is not to impose. I would like to convince the players of what they are doing. This takes more time.