Natalie Zea Quotes

All of the writing on '30 Rock' is a joy to go into. It's pretty hot stuff.

I was opposed to doing TV for a long time because I thought the quality of writing wasn't very strong, as opposed to film, but there's been a shift in term of the quality of scripts. HBO has attracted a tremendous amount of great writing talent.

I've written for the last 15 years on TV shows, but now I'm doing the new Charlie Sheen program, 'Anger Management.'

I think there's a lot of interesting stuff on TV. I feel much more optimistic about TV than I do about movies. There will always be good movies but I think, for the most part, it's always going to be a huge fight to get those movies made. TV is the best place to be as a writer, I think.

Listen, a cable series is a beautiful thing because there's such amazing writing happening on television, and it's a schedule that allows you to do a play or two. There's a reason everybody wants that job!

The quality of TV drama nowadays is getting better and better. They've had to invent a new term for it: 'high-end television.'

TV has gotten perhaps better than your average film script, but at the same time, it's fun to give it all you've got for a few months and produce a story.

Marshall Herskovitz and Edward Zwick really changed the way one-hour television looked and the depth of how deep it could cut emotionally.

I'll always love movies. But there's something I love very much about TV, when you shoot episodes while other episodes are still being written.

Sitcoms are what got me excited about show business.

For sure, without question, the writing is better on TV pound for pound than movies because the businesses have changed so much. So all the great writers would rather work for TV, and they do.

In the world of book writing, there's a few people, maybe, where you have close relationships. In TV, there are so many more relationships, and they're all so critical.

The scripts of 'The Wire' are fantastic - the scripts of 'Breaking Bad,' the scripts of 'Mad Men,' the scripts of 'The Sopranos,' the scripts of 'Battlestar Galactica.' You could keep going on. They're incredibly well written.

In television, the 60-minute series, 'The Wire' and 'Mad Men' and so on, the writer is the primary creative artist.

I wanted to do screenwriting. That's what I went to school for, but my major was overfilled, and when I got 'The Daily Show', I was a semester away from officially starting my major, so I never started that in particular.

I learned how to write TV by writing 'Grey's Anatomy.'

My first job in Hollywood was as a PA in the writers room of 'Dawson's Creek,' and from that early experience on, I've always had an intense appreciation for the energy, creativity and process of making television.

I went to USC and got my first break writing for a kids' show called 'Pepper Ann.'

There are a lot of good writers in TV!

For a writer, working in television is an incredibly rewarding medium. You're in charge of all aspects of production and get to see your vision come to life every week.

In all honesty, I've written movies that have been made, and the process has not been as satisfying as writing for television.

I was a writer on '30 Rock' for six years.

I think Seth McFarlane is brilliant, and I think 'Family Guy' should get an Emmy for sure.

Putting any show on television is a challenge. I've been very lucky to work with incredible showrunners on 'Smallville' and 'Lost' and 'Heroes.' I hope to bring a lot of those lessons to Marvel live television.

I've been fortunate to work with partners like Weinstein and John and Art Linson in developing 'Yellowstone' and am grateful that it has found a home in the Paramount Network. The show is both timely and timeless.