Nancy Dubuc Quotes

I think TV, at times, is incredibly regressive, but I guess with the way few people are ready to experiment, the progressive streak has slowly crept in.

When my films don't work it's usually because I tried some very experimental idea. I tried new ideas and they just didn't work, as opposed to trying to do something conventional and having it be so conventional nobody wanted to see it.

To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'

You're out there on a high wire without a net, and that's the way actors operate. They have to be fearless about how they work and they have to create a life for the audience in 90 minutes and make them believe.

Fiction is experimentation; when it ceases to be that, it ceases to be fiction.

The wonderful thing about theater as an art form is it's a purely empirical art form. It's all about what works. And every show, every production, is created anew right from the moment you go into the rehearsal hall.

When it comes to storytelling, not taking risks is riskier than swinging for the fences. I have very simple ambitions when it comes to taking risks in storytelling and programming. I try very hard to avoid the expected.

When that happens - when risk is taken and the filmmakers dive into the subject matter without a parachute - very often what you get it something with those qualities that make it age well with the public.

There's a great appetite for smart television. Every day I get up and there are interesting stories I want to do.

We wanted to offer something new to our audience. I hate it when bands stop taking chances.

It was actually the enormous risks I took with my pictures, skating right up to the edge of non-acceptance, that paid off so handsomely.

I'm not sure the risks I take are any different from what other writers take, since we all serve at the pleasure of the reader.

You know, it's a big version of an episode, which I think is necessary at this point because we're drawing in people who not only people who have seen the show before and are devoted to it, but people who have never seen it before.

The key to this collaboration - which we undertook after much deliberation - was to stretch creatively. New characters, new locales, new form (the novella).

With the rise of cable, network is clearly floundering because the characters on cable are far more fascinating than they are on network. Network television is trying to figure it out. Network television really relies on story rather than character, and cable relies on character.

If you're not pushing your own technique to its own limits with the risk that it might just crumble at any moment, then you're not really doing your job.

I free-form it, rock n' roll it. I'm a creature of risk, so I don't know how I'm going to explore a Beethoven symphony until I'm doing it.

My job was to find interesting material that would give us a quality television show.

The great fun of doing new plays is that people have no idea what's going to happen next. That goes quite soon, as people start talking about it, and the only way you can keep hold of that is genuinely to keep changing it.

I think that if you've got 5 million people that enjoy drama and invest in characters, you must take the time to not worry about your job and getting sacked and just go for it and hit it again.

I think it's really important to have good quality drama on TV.

I ask all my actors to do two things: I ask them to fail for me, and I ask them to surprise me.

I love Channel 4 and Clerkenwell Films, they aren't afraid to take risks.

There are some channels that are trying out new content. These shows have new and fresh stories. The trend on TV is changing, and along with this, there are web series, too. But the audience needs to get used to these stories.

I think it's really important for actors to add some shock value to whatever they do. I think the audience gets bored very easily, and it's really important to keep experimenting.