Daniel Alarcon Quotes

I'd like to do radio just like pictures - leave the imperfect stuff on the cutting-room floor.

I love producing. I am loving doing that. I think that is my most natural space in the business. I just love producing or editing and that's where I thrive.

I was broadcast-struck from an early age; I had saved up for a tape recorder and started making programmes.

I could learn how to press 'Record' on a tape recorder and write for a newspaper or a magazine.

I would like to shift more into writing for and producing people.

I think one of the reasons that I got so good at it, as somebody making radio stories, is that on the radio I can actually - I can understand what's happening in the interview and can make a connection in a way that makes sense.

Well, whether it's on film or on TV, you don't want to throw too many curves at your audio and video guys.

We set out to capture what was happening, and then we cut that into the series.

Part of making TV is the process - you just have to churn it out.

With TV, your first draft just doesn't matter. It's a skeleton, and then there's draft after draft after draft, and so many other factors influence it. It's just a whole different kind of storytelling.

I'm interested in producing more TV shows.

With films, you are not so much on a schedule. TV is all about scheduling.

When you're doing the work, film and TV are exactly the same. TV is just film in reduced pieces.

I've been working in radio on and off for most of my career. There's a restfulness about it. It's more focused on the voice, so you don't have to worry about extraneous things like sound effects, as there's someone there to look after that.

I treat recorded tapes the way a film director treats his rushes.

You probably know me as a producer for 'This American Life', a top podcast in iTunes.

I really missed what I'd done on Rogers Cable, which was shooting and editing all my own stuff.

When you think about it, media's the intersection of content and technology - it's all about storytelling, like photography and the camera.

Once a song is done, for me, personally, it's usually two or three days to get the mixdown.

There are so many details in a movie that it's amazing how much work you'll do to change what adds up to not that much material.

In a movie, you work three months to tell a story that happens in two hours. In a Mexican soap opera, you work one day to make a story that's an hour and a half. So you can see the difference in the quality of the project.

I've been lucky enough that in the U.K., I've done shows that have aired once a week. I make a show there that runs seasonally, and we make one episode a week, and that is great - the value of time. You can really think and finesse what you want to do.

I'm excited about what technology is offering storytellers and movie- and TV-makers.

Working on 'WAGS' is obviously very different than working on wrestling television. It's very different in the way that there is not nearly as much to do for 'WAGS.'

I started with digital filmmaking. I've pretty much only done digital filmmaking.