Graham Yost Quotes

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.

The idea of being a show runner was very attractive to me, to create and control something.

The producer is at the center of entertainment. The producer is being forgotten, and producers must seize the center of activity.

The greatest thing that you have when you're a showrunner is this opportunity to create worlds.

I could sell my own TV show, but I couldn't get it made.

When I first found out what a show runner was, I thought it was the strangest job I had heard of in my life.

I want to be an executive producer.

For a writer, working in television is an incredibly rewarding medium. You're in charge of all aspects of production and get to see your vision come to life every week.

I know the commitment that TV requires but it's nice to come to work and have fun.

Having gotten TV shows on the air, that's so much less work that trying to get the 'Veronica Mars' movie made.

There's probably a little more creative freedom in cable versus network, a little less of a committee looking over everyone's shoulder, but it depends on the network; it depends on the show; it depends on who the head writer or show runner is and what track record they have.

I knew 'True Detective' wasn't something I could allow anyone else to develop. But by the time HBO expressed an interest, I still had no real experience.

I couldn't survive just doing independent movies. And I'd rather do modelling than movies or TV I didn't like.

I'm just looking for a kind of project that will have a decent role and is something that I'll really enjoy doing. There are a lot more opportunities in television.

I want to be on a show that's as good as the one we're doing and that we get to make for many years.

I am so happy to be on a show with writing I wanted to participate in.

With network shows, writers can be so protective of every syllable.

I am currently talking to one of the studios about making American Star as a TV series.

As I slowly managed to take what I had learned into a transition from contestant to announcer and warm-up, I first had to prove myself on pilots. And as you know, many pilots are taped for each show that is lucky enough to breakthrough to being a series.

In the TV world, we are seeing a lot more power going to the writer. I sense it is a writer's medium.

You have to fight to get your show not only on the air but then to keep it what it is and make sure that it doesn't get manipulated into something else.

I don't think of myself as a producer. In television, it's part of the business - if you progress and become successful as a writer, you're called a writer-producer. What that means is that you have a lot of say in casting and behind-the-scenes stuff. But I'm just a writer.

My first job in Hollywood was as a PA in the writers room of 'Dawson's Creek,' and from that early experience on, I've always had an intense appreciation for the energy, creativity and process of making television.

That was mandatory in the contract with Aaron Spelling, that if you were contracted to do one of his shows, you had to do any other shows that were his.

It's true that in show business, a lot of times a producer will just not ever be there, not even be aware that a show is renewed or canceled.