Judy Greer Quotes

In television, the writer-creator-showrunner is embraced as the creative mind.

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

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

By June 1990, I'd racked up 'written by' credits on both 'Newhart' and 'The Simpsons.'

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.

I feel terrible for directors of TV because all the episodes have to look the same. They make a great series for five or six years, and then when it's canceled, they can't break out on their own.

Writing for television is completely different from movie scriptwriting. A movie is all about the director's vision, but television is a writer's medium.

I read every draft of every episode of every series produced at FX.

I have a pretty big TV background, and I have clocked so many hours in so many writers' rooms over the years.

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.

My very first job was working on a TV show that was a prestigious TV show and well done - was called 'Family.'

I literally will write Shonda Rhimes, the creator of 'Grey's,' an e-mail once a month or so and just say, 'Hey, I love you and thank you.' That was my moment. Because of that, I'm doing 'Magic City.'

The stage gives you more control over your own work; in television, there's a distressing amount of communal writing. Unless it's your show, you have no control over that. You're at the mercy of whoever's running the show.

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.

If you think about TV series, we make 16 one-hour movies a season. You don't get any opportunity like that in movies. I mean, I can't say I'll be able to do 16 movies in the next year, and so that's how I see it.

As a matter of fact - it'll probably ruin my movie career - but I think better storytellers are in television.

TV is the place that writers want to be. When you don't have a very strong indie market going on, talented writers want to have their voice heard, so they'll go somewhere else, and everyone goes to TV because their voices are heard.

I think when it comes to television as opposed to film, the producers really are the writers. We work with people who are purely financial producers.

I have admiration for people who can do it well - the guys who wrote 'Cheers' and 'Frasier.' They created sort of a blissful comedic universe.

I know when it comes to TV, the writer is king, but to me, the filmmaker is king.

That was mandatory in the contract with Aaron Spelling, that if you were contracted to do one of his shows, you had to do any other shows that were his.

I love TV and am happy doing TV shows.

If I write a cop show, it's not up to me to decide how different it is from 'Law & Order.' I had screenwriters go on and on and on about how their cop show isn't like any other cop show on TV. They made very good points, and it absolutely doesn't matter. It's entirely up to the audience to decide.

The writer is just so much more intimately involved in the television process than the feature film process.

TV is a writer's medium, the writer is in charge effectively. So what you write is what gets shot, so in that sense I prefer it. But in terms of the scale of it, features are fantastic.