D. B. Sweeney Quotes

Usually when you're doing a season one, you're trying to find the show.

I feel like my experience on 'Community' was that I saw just how important that first year is for a series. That is where you work all the pieces out, and that means honing the characters' voices, setting that tone, finding your angle.

There's always opposition when you do something big. I do many things that are controversial. When people see it, they love it!

At school, there was an annual school disco and I'd be standing in my bedroom wondering what to wear for hours on end. Eventually I'd arrive at a decision that was just the most ridiculous costume you could have ever devised - I think it was probably knitted Christmas jumpers on top of buttoned-up white shirts.

I think I've benefited from not being hugely known. It means I have to do something really effective to be noticed.

You can't say the public likes generic characters. Give others a chance, go for a more rooted and honest characterisation, take some risk, and then let the public choose.

The second episode of any new show can be tough. You have about a week to top the well-crafted and polished pilot episode that was written over six months.

Always wear expensive shoes. People notice.

Now that I know what goes into making a pilot, keeping it on the air, and keeping your fans, I'm at a point now where I do a pilot and just hope for the best. If it doesn't work out, it doesn't work out.

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.

One of the things I noticed about the '2 Broke Girls' pilot was that it looked like a new episode in a season and not a pilot, and that's an amazing sign.

In Los Angeles, people dress with the deep and earnest hope that people will do nothing but stare at them.

Like, to do a pilot, you don't know what's going to happen with it.

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 think one of the reasons I'm popular again is because I'm wearing a tie. You have to be different.

My hair walks into a room before I do.

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.

Flamboyance causes people to notice you—particularly press people.

Hats off to Julian and Johnny, the producers, for sticking to their guns with the five-season story arc of 'Merlin'. It would have been too easy to give in to demand and stretch the show on beyond their original plan because of its incredible success.

I think sometimes when you want attention, you can wear sunglasses, and people are like, 'Who is that?'

Going unnoticed has never been my strong suit.

It's hard to tell what an entire series is going to be based on the first few episodes, or even on the first season. And it's sad because you see great casts and good ideas that don't get that opportunity to grow and show what it could turn into.

What I do know is how difficult it is in this industry to get a show on the air. There's so many different stages: getting a script bought by the network, then getting a pilot made and having that pilot go to series, and then, when that series gets on the air, having people watch it.

I knew that the only way to get noticed would be by doing something that was not expected of me. I was sure I wouldn't get noticed if I continued to play the heroine in films like 'Chashme Baddoor.'

I always think about the first day I came to FCW at the time. I remember walking in, and I had sparkly-sequin UGG boots on, sparkly-sequin jacket on, and matching sequin backpack.