Alison Brie Quotes

I feel like my experience on 'Community' was that I saw just how important that first year is for a series. That is where you work all the pieces out, and that means honing the characters' voices, setting that tone, finding your angle.

No great television show has ever rested on just one person. They're all about great ensembles and storytelling.

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.

If you go to pilot then you are probably going to go to series. That's my feeling about it.

I won't name any names, but I've done a couple of shows where once the pilot got picked up, the creators openly said, 'I have no idea where we're going.'

Hill Street Blues gave me an opportunity to work with an ensemble cast of people whose work I admired.

For 'Breaking Bad,' it was like, that's one of the best pilots, probably the best pilot I have ever read.

You know what I would really like to do? I'd like to do a half hour drama with comedy in it.

In TV we've used something that I love... it's called process. I love process.

Doing a TV show, you're on an assembly line and it's as cut and dry as that. There are some shows that are exceptions. There are producers that want really special things.

You hope for that with anything, but with a TV show, the writer and the actor being the right mix are more important than the actual writing of the pilot because you hope it's something that can have a long life.

When you're making a television show, it's about the story and arc of the show rather than any particular episode or director.

It's kind of interesting when you sign on to a show because you're basically signing on to play a character because you only really see the first episode of the show.

I would really love to direct one day. I think there are certain actors who love the character and the performance and that's all they want to be a part of.

When you're a writer on a show, your job is to write in the show runner's voice, really.

Sometimes they keep us in the dark, but it's TV, so sometimes they keep us in the dark because even they don't know yet. You know what I mean? So, it sort of develops as it goes along and according to various needs that arise.

The most important decision you can make as a showrunner when you're doing a pilot is who's in it and who's directing it.

'The Fosters' is such a fun show to shoot, and I always look forward to getting the new script because we keep pushing the boundaries.

I would remake 'Club Paradise.' I thought the story was cool, the setting was great. Everything lined up, except I wrote it for Bill Murray and John Cleese.

Every show finds its groove, I would say. The first season is the season to figure out the dynamics, the workflow.

We've talked about a sitcom and a comedy drama. It's getting the right project and working with the right people.

My role on 'Silicon Valley' was so small that I didn't have a lot of influence anyway in the show. There are four guys who really write that show and run that show and then six or eight hanging out in a room kicking in a few bits.

Working in MTV's development team, my days would consist of pitches and deciding which concepts we wanted to buy. We would then develop those into a pilot. Very few ended up making it to a full series, but if they did, I would manage the project alongside the show's creators.

Honestly, the life of a serial character on television, I'd love to write an essay about it.

I think it's a lot easier to put together a reality show than to actually create a scripted show.