Julie Warner Quotes

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

I came to NBC on 'Friday Night Lights' and they have supported that show and found ways - unprecedented ways - to keep it on the air for a long time. And when I came to them with the idea of doing 'Parenthood,' they not only supported me in doing it but also got behind it in such a way that we were able to put together this incredible cast.

You end up giving up half your salary every time you make a movie because you need the money to make the movie you have in your head.

There's no way you can shoot low-budget stuff on lots of locations. It's just a practicality thing because every time you move, it costs time and money.

I don't think there's any show that really escapes it: It's very rare that a creative producer stays with the show. As soon as the producer leaves, they cut the budget.

In the movies, you typically do get to see the script beforehand. TV is different because there are a lot of scripts in the future that you haven't seen. You commit to a show, and you have to believe in the showrunner and their team and the stories they're going to tell.

It's expensive to produce musicals on television.

Major differences in projects happen due to budget, director's styles, and genre of script, not industry.

I had done a directing producing job before on 'Big Day' and 'Jake in Progress,' and those are two shows where I directed the pilot and stayed with it in series.

Coming from the industry and maintaining contacts with producers and directors, I am very well aware that costs associated with movie production are a major factor in determining where films get made.

I've always had a show that went seven episodes or 13 episodes or whatever. And I've never had a show that's gone past a first season. It really is a lot of work.

Every time I sit in the audience and watch a show that I have been involved with, it is such an amazing feeling to see all those people around me, knowing they are actually watching and enjoying something I have written.

A film goes through so many hands, that by the time it's done, it might not resemble what you thought you were making.

There is a 90% failure rate for most shows. It's difficult for any show to write for the next season.

In a movie, you have to be mindful that no budget is going to be able to deal with running around the globe at every whim of the writer.

It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script.

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.

It's great, getting the scripts and working with somebody like Sam Esmail, who is such a great leader.

The dream, I think, with any project is it starts with an idea, and then somebody writes it, and the writer hopes that a director comes on and makes this piece of material visual, and both the director and writer hope that they can have actors come in and bring something to it that neither one of them expected, elevating it along the way.

In order to have the success with 'Empire,' you have to have Fox; you have to have huge P&A. You have to have huge budgets for the show. I'm pretty confident that the budget of 'Empire' is six times what I'm spending on 'Have And Have Nots.'

There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.

What I do know is how difficult it is in this industry to get a show on the air. There's so many different stages: getting a script bought by the network, then getting a pilot made and having that pilot go to series, and then, when that series gets on the air, having people watch it.

When you're working on a novel, you never think about how much it would cost to shoot one of your scenes. But that's a huge consideration in film and TV.

With TV shows that film in London, you're pretty much around for your kids, so that's good.

It's good to work with a writer-director.