Colin Hanks Quotes

The great thing about TV is that it's so fluid. When you bring in someone for one quick role and they're fantastic, you can bring them back.

Having gotten TV shows on the air, that's so much less work that trying to get the 'Veronica Mars' movie made.

The same issue is happening on a show like Everybody Loves Raymond now, which is in its eighth year and struggling to come up with good stories. It'll be interesting to see how they do. The bottom line is, it starts with the writers and ends with the writers.

There's a huge raft of roles that actors in our culture perform, and you can see any one of about three Hamlets in a year. It's not something to be completely daunted by.

I'm not sitting around thinking of ideas for TV shows.

I've never been on a TV show for more than a season and you have to continually keep it interesting and you have to keep it connected, even as you change.

I'm very focused on 'Dexter' right now. I want to make it as good of a show as we can.

I have done a lot of work in Hollywood myself. I worked in television for roughly 10 years, from the mid-'80s to mid-'90s. And I was on staff at a couple of shows. I did some feature films, including originals and adaptations.

I'm not setting 'Jericho' up to be anything other than what it is, which is, you know, a piece of good, well thought-out, well put-together TV and entertainment.

As soon as you make some films that people like, you'll be sent material, and that can come from anywhere.

Writing a screenplay is an act of faith. First, that it's interesting enough that anyone would want to make it. Secondly, that anybody would want to watch it, let alone enjoy it.

I am constantly thinking of different ideas and formats for TV shows. I am in a place where anything is possible if you want to do it.

I love making movies, I love the differentness of it, I love writing. But I've always liked television. I grew up on television.

Writing is the life blood of everything in Hollywood. Without writers, there are no scripts, no acting work.

Writing plays, I've always felt a little like I'm guessing - less sure of what's good and what's not good. I think that's because it's not a complete work of art.

I look for scripts that give me a gut feeling that this is going to work.

I've read many great samples, both of existing shows I liked and original pilots, and definitely hired the writers - or, at least, tried to!

In TV, you don't know everything. The writers only give you scripts before you shoot the episodes. They keep you on your nerve.

For me, a story has to have characters, and my role should be meaningful. At the end of the day, people should say that they like my performance.

I think a script is great when it starts with the structure and works with the structure without falling into the typical three-act system in which the audience is ahead of the movie. I hate that, but that is like 99% of what I read.

If I write a cop show, it's not up to me to decide how different it is from 'Law & Order.' I had screenwriters go on and on and on about how their cop show isn't like any other cop show on TV. They made very good points, and it absolutely doesn't matter. It's entirely up to the audience to decide.

I was pretty happy with what we were able to do on 'SmackDown.' It was one of the best, most fun runs of my career because it was essentially a new show.

Before, I was writing a script to make a movie. At a certain point, I became A Writer in Film and Television. So I got TV deals to write stuff, film deals to write stuff. But it's dangerous. I got into the WGA, and I became kind of, you know, a slave! They just pay you to write a script, and it's hard to make the movies.

I never let the technical stuff get in the way of the storytelling.

We have got offered some shows in America, but really dopey shows - like reality shows.