Alexis Bledel Quotes

If you're directing, it doesn't really matter any more if it's going straight to TV - what matters is whether you have the resources to make a story that moves you.

I essentially have always directed everything on my TV show without using that title; I edited and wrote all my stuff.

You have to fight to get your show not only on the air but then to keep it what it is and make sure that it doesn't get manipulated into something else.

American television is very much created by the writers, just the volume of it. The writers are so key. You're just trying to do something that serves that script. And in general, film isn't all about the script, really.

Whatever field you can do that, that's where you want to do it, and I think that's why people like David Fincher and Ridley Scott are interested in it, too, because when you sit down on a meeting in HBO and they're like, "More, more." You're just like, "Oh yeah, I love this." Sometimes it's a little harder in film. I think also it's a great audience, take advantage of it. It's a great audience.

Every show I've ever, you know, produced, essentially it's the show I want to watch myself.

I love directing. I love creating things that I don't necessarily even have to be in. I like creating worlds. So I'm getting into writing movies and selling movies and television shows and creating worlds that then get to live beyond me.

Pablo Picasso would paint a painting and hang it on the wall, and you would go and see the painting exactly how he wanted it to be made. But if you have an idea for a TV show, for example, you're beholden to studios to produce it and distributors to distribute it.

I watch 'Sons of Anarchy' and 'Game of Thrones' and 'The Walking Dead' and think, 'I want to create that kind of television!'

I did 'Red Riding,' which is TV in the U.K. It became a feature project in North America, but we're in a great era of TV. We all know that, and we hear it all the time, but for filmmakers, it's just a godsend to have your television writing and work to do on television, and the means to do it properly.

I'd like to build a TV company for myself.

The director in TV and the writer and the creator are working very much hand in hand.

Audiences are very willing to be taken somewhere, and to ask an audience beforehand what it wants is probably, I think, a mistake. Much better you should tell them what you want and hope they agree with it.

I write the kind of stuff I'd like to watch.

The biggest difference between British TV and American TV is money. But what money doesn't do on American TV, which I thought it would, is buy you time. You don't get more time. You get more toys.

Being an executive producer allows me the opportunity to create original content, and I can't wait to show my fans what we have in store on 'Kocktails with Khloe.'

I think it's not uncommon for new television shows to spend certainly the first year, but without a doubt, like, the first eight or ten episodes, kind of figuring out what the show is.

I'm supposed to be the director of a television company, but I've only ever seen that company as a vehicle for making the kind of programmes we wanted to make, getting our ideas on the screen.

When you're making TV, the last thing you want to do is watch TV. It's too much.

I don't think you can really make television based on what you think audiences want. You can only make stories that you like, because you have to watch it so many times.

In the TV world, we are seeing a lot more power going to the writer. I sense it is a writer's medium.

When I create a TV show, it's so that I can write it. I'm not an empire builder; my writing staff is usually a combination of two kinds of people - experts in the world the show is set in, and young writers who will not be unhappy if they're not writing scripts.

Television shows are not like cars or operating systems, and they are not best made by engineers or coders in the same assembly line manner as consumer products which need to be of uniform size, shape, and quality.

I think one of the reasons for the success of 'Breaking Bad,' and now for 'Better Call Saul,' is that we have been blessed by AMC and Sony with enough time to figure things out.

The greatest thing that you have when you're a showrunner is this opportunity to create worlds.