Nathan Fillion Quotes

Brimstone was great. That was another occasion when they called me in to do the pilot and it turned into a regular job, which made me quite happy. It was another really good experience and we were all so surprised when they pulled the plug on it.

Ten episodes goes by really quickly, especially when you've got a really tough shooting schedule of seven-day episodes.

Honestly, it's a sad truth, but whenever a show is about to go off air, you start getting hints because the work environment and quality changes.

You don't really have time to watch TV if you work on TV.

I left 'The Bob Newhart Show,' which was my decision. CBS wanted it to go on. But I could see television changing; I could see the tastes were changing.

I most enjoyed doing 'Whites,' a show BBC2 cancelled after one series. It had some beautiful, witty, charming scripts and was one of the most positive ensemble pieces I've done. I thought the end result was really special. I'm still confused about why it didn't last longer.

The pilot of 'Seinfeld' was made and dropped. 'Seinfeld' was not supposed to go to series.

Well, we had more money and more time the first season than we did at TV 23.

More and more, I've started to understand that no show is dead unless somebody decrees it's dead at a studio.

TV is just such a fast-moving medium that you do what you can do, and what you can't do, you don't worry about too much.

Whenever you're adapting something that's a 12- or 14-hour read down to something that has to be around two hours, there's going to be some cuts.

We do 32 episodes a season and will have shot 267 episodes by the end of the ninth season... It's impossible to sell that many episodes in the foreign market.

I've always had a show that went seven episodes or 13 episodes or whatever. And I've never had a show that's gone past a first season. It really is a lot of work.

You have 22 episodes to start from zero to hero; you can really take a nice, big, long arc. In a film, it's tough to do that - you only have 90 minutes.

There is a 90% failure rate for most shows. It's difficult for any show to write for the next season.

The fact is that daytime television is less valued than nighttime, and it's partly because of the product that we produce. We do a one-hour show in 12 hours. Nighttime produces a one-hour show in seven to nine days.

It used to be that you had to do a certain number of episodes to hit syndication in order to try to keep a show on, because it's important to the network because it sells good commercial time. That's really not how HBO does things.

When you don't have time, especially for a director, you cannot do exactly what you want to do. You have to cut your dream to fit in the movie you're doing.

When E! ended the show, it wasn't because it was low-rated. It was because E! did not want to pay union rerun dues.

It's not about creating 22 episodes indefinitely for as long as you can do.

We wrote 'Olive Kitteridge' as six hours, and they asked us to make it in four.

When I was on 'Trauma,' the first order was six, which turned to 12, and then there were rumors of getting cancelled. I'm used to that.

I did a network show in the U.S. before, and I loved it, but you have eight days to shoot an episode, and it's just a ridiculous pace.

That is one thing I really hate about working in TV - you have to shape episodes to exact time-lengths, do like 22 minutes, and it is just so against what you are making.

That's the thing about 'The Daily Show' - we're doing four shows a week, so we can't be too precious about what's going on.