Anthony Michael Hall Quotes

At our best, it's a good experience but we do 22 episodes a year, so there are some clunkers.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

I'd read a lot of scripts, and I remember reading 'Orange Is the New Black,' and it was at the head of the pack. I remember thinking, 'Wow, that is really good. I would love to be a part of that.'

I work in film, TV, commercials and do live PR stunts for companies. A lot of my time is spent reading scripts and looking at designing sequences, speaking to directors and producers about how they want the sequences to look, how they will work and budgeting those stunts.

Especially as a director on 'West Wing,' I directed a lot of different things in a lot of different ways and really stretched my wings.

It's good to be busy on a film set because there is a lot of sitting around, so if you've got two roles to play at one time, then that's great to do.

Actors know how to talk to other actors in a way that sometimes other directors just don't.

You know, episodic TV directing is a very long and arduous job. You have very short schedules, short short shooting days, and you have to get lot of pages done.

In TV, sometimes you get lost in the fog of the scene, and when you're working with such good actors, they can bring you into the scene.

In my experience in series TV, if you have a good crew and a great cast, it's going to be a great group - similar to the theater where it's a bunch of people who are really talented and go to work each day and challenge each other, and if you are lucky enough to get a hit then it's five or six or seven years of this kind of work.

I've been really lucky to work with some really great film people in the past, but television works on a much quicker schedule, and it's the TV directors I've worked with that I looked to and became a big fan of.

The good thing about being on a show like 'Justified' is that you stick to the premise, but not necessarily every single word that's on the page.

I loved working with Stephen Frears. He's a really fantastic director. He knows what he wants and how to get it.

Making '1600 Penn' was really fun, and I learned a lot.

Working on 'Westworld' has been an incredible experience in learning to make something with the scope of a feature on a TV timeline with a budget nowhere near what you would expect for a feature film equivalent.

I've been really lucky to work with a lot of theater directors in the film, like Stephen Daldry on 'The Crown' and Richard Eyre on 'The Dresser.'

There was a choice of being a director who's more familiar with the technicality of doing a movie, like learning about the camera and filters and setup, or being a director who can actually talk to actors. And I always wanted to be an actor's director.

I've been doing theater for a long time, so that's something I understand. I'm such a babe in the woods when it comes to TV and film. I'm still learning. It's exciting.

Acting is completely different from the standup world. You have these 12- or 14-hour days, but you have a great time doing it. It's like hanging out with your friends.

It's so crazy to work with Ryan Murphy and then work in the David Fincher world with Robin Wright.

A director should be in a position where he is only directing. On the sets, he is only looking at the performances, thinking 'How I am going to shoot this?'

I was offered the role of the Reverse Flash on 'The Flash' by Executive Producer Andrew Kreisberg and Greg Berlanti, who co-created the series with Andrew. I said 'yes' immediately because I had worked with those guys before on the show 'Eli Stone.'

The script is so important... Even if you have a huge entourage or big lighting trucks, the most important thing is the space between the actor and the camera.

When you work on a Dick Wolf show, it's as if you've joined a second family.

I'm directing episode 10 of the new season of 'Dollhouse' and couldn't be more thrilled. I've visited the set several times in the last year and a half to shadow Joss and other directors in order to prepare. It was important for me to get a feeling for the crew and how they interact.