Adam F. Goldberg Quotes

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.'

Tim also has enough confidence so that it always looks like a Tim Burton film, but it really is collaborative. You're allowed to do it your way but of course he's always going to choose his way.

I love the TV show, and if you make a bad movie it means you've soiled it. Just like if we made an advert. We were offered so many times and I'd say, look, this is the good thing, and you can't compromise that, because then you compromise the integrity of the characters.

John Huston is more of a creative director than most.

Television is certainly a writers-led medium. They're the ones who are there, they're the ones that are conferencing or whatever, with directors coming and going.

The big difference between the radio show and the TV work is that I don't have to work by committee on the radio show. I'm the DJ; I can play what I want and suffer or get praised by that. With a TV show, it's much more of a collaboration, and the song that I might think is perfect may get shot down and vice versa.

I'm very strongly in favor of the auteur theory.

Hats off to Julian and Johnny, the producers, for sticking to their guns with the five-season story arc of 'Merlin'. It would have been too easy to give in to demand and stretch the show on beyond their original plan because of its incredible success.

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.

Jeff Wachtel, who was the main reason our show came back, and also got picked up to begin with, is from the New York theater.

It's only when you're privy to the conversations and a member of the production team that you can direct the course of a series and make sure it flourishes.

Showrunning is when you're the constant creative voice in the show. For a year-and-a-half, you are working on the scripts, you're fine-tuning them, you're the final say on the edit, the music and the cast.

I think the success of any movie is dependent upon it being a singular vision.

I guess when you're holding the creative reins, you can be across everything, and it's more authentic. You can control it.

I think the real exciting part about becoming a solo artist is that you get to really decide on what your new sound and what your new message will be.

As a director, you have to go in with a really, really, really clear picture of what you want. That's the point of my commentaries. It's so difficult because you're the harshest critic.

Joss Whedon said to me, 'If you think you are taking over the show, you have got another think coming.' He said, 'You are here only because I don't want to kill a villain off every week. I want my villains to be more interesting and multifaceted and then die.'

Every so often, it's time to make a change with a showrunner. You evaluate the creative and how the show is run and how the writing staff works, and sometimes you want to freshen the show. We just decided that it was time to do that on Community, and no disrespect to anyone.

There were the usual types of things that happen, in a production, like logistical bullshit, and this and that and the other. That's the sort of stuff that happened. But I never felt, in a creative sense, that we were ever veering into a place that I hadn't signed on for.

The key is you don't want to control the controlled stuff too much and you don't want to be too free flowing in uncontrolled situations. That can be a contentious issue with some directors. The joy of my career is I've gotten to work with great directors who get that balance.

I was always going to direct. I wasn't going to hand my characters over to anyone else.

Every song that I compose has to satisfy the music director in me.

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.

My name is on the door, and I care very much about the design that gets put out. I'm sorry, but it has to be my way. You learn that by working for people like I. M. Pei. You think he isn't a design tyrant? Is Calvin Klein a tyrant? When it came to his dresses, he had to be.

Manny Smith & Interscope CEO John Janick understand me and my vision for myself and also my label. Interscope gave me the opportunity to take over the game completely, and that's what I'm going to do.