Matt Bomer Quotes

When you make a pilot, you've never seen the show before; you don't know what it is.

When you do a television show in the States, you get the pilot, and then it's the great unknown. That's the way it is. It's this great leap of faith. It's the Russian roulette of art.

When you're starting up a show, you don't really know what direction it's going to go.

Now that I know what goes into making a pilot, keeping it on the air, and keeping your fans, I'm at a point now where I do a pilot and just hope for the best. If it doesn't work out, it doesn't work out.

I did a guest thing on 'My Name Is Earl,' and there is something about being involved in a TV show that's in the midst of its popularity that frees up the creative process.

I've always said that it's like being the winner of three separate lottery tickets - getting a pilot, getting the pilot picked up, and having a show that actually lasts. There are no guarantees, and no one knows where a show is going to go.

I did a pilot for Nickelodeon that didn't end up going to series.

I worked on 'Game Of Thrones' for six years, so I'm very well equipped to handle hype surrounding television shows.

It also signals to me, when I pick up a pencil, that this is a rough draft. This is not going anywhere, and no one's going to see it. You have permission to make all the mistakes you want. It signals freedom to me, and it signals mistakes.

I was super skeptical about doing TV. I said no three times, part of which was confidence because I didn't really understand that world. I know how to climb mountains and do all that, but I wasn't a TV person.

None of us understand what we're doing, but we do beautiful things anyway.

When you do television, there's more to do, and when you do new television, there's a lot more to do, especially when you don't have partner. I miss not having that person.

I Still Approach A Scene As One Would Approach A Guitar Solo. You Don't Exactly Know How You're Going To Phrase This Or That. Which I Think Is Beautiful. That Idea Of Chance.

I believe really deeply in the pilot process because you learn things about tone and casting.

I did not know how to paint or even what to paint, but I knew I had to begin.

[When you write a play] you walk into a forest without a knife, without a compass. But . . . if you have a sense of geography, you find that you're clearing a path and getting to the right place.

When I stand before a canvas, I never know what I'll do, and I am the first one surprised at what comes out.

I can't know what I'm going to do before I'm in front of the lens. And I think that sort of makes it exciting.

I always write and create. I'm never not creating. I'm always creating a show, every year, whether it gets picked up or not. I always sell a pilot or an idea. I like to be in control.

Working in television, many times you read a script, you work on the pilot, and then you play the waiting game to see if you're able to make it a series.

I have written a great many stories and I still don't know how to go about it except to write it and take my chances.

The studio experience fluctuates depending on who you work with, it's not like it's all one experience. Every studio is different, every producer's personality is different. You never know what you're going to do.

Making a movie is a weird combination of planning and the absolutely unexpected.

I think the more that I can find myself getting out of the way - like you said yourself - trying to get out of thinking too much, and sometimes something truly special can happen. That's the beautiful mystery of song writing - that you really don't know where these songs come from exactly, and you don't know how you came up with them - and god bless it that you should have the gift of channeling that.

There is no security, no assurance that because we wrote something good two months ago, we will do it again. Actually, every time we begin, we wonder how we ever did it before.