Bria Vinaite Quotes

Nowadays, kids know how a programme like Merlin is made and how it works. But the show just seems to grow in popularity the more it goes on.

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

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

It has taken some time, but I know I've put my trust in the right team, and I'm excited to collaborate with Universal Cable Productions and Benderspink to bring 'Dreadstar''s unique brand of chaos to television.

Actually, no, but I am close to the people who are working on Chicken Little, and I'm very close to the people over at Pixar. I mean, as far as stories are concerned, almost everything we have could be told that way.

Because television doesn't offer the kind of budget that a movie offers, you've got to be a little more careful where you spend the money to put the fiction in science.

Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.

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

I always wanted to be a film-maker when I was younger, not an actor. I was an eight-year-old who dreamed of being a writer on 'The Simpsons,' which was a weird dream to have. But I started taking acting classes as a way to learn how to direct actors and I sort of fell in love with it.

I'm not sitting around thinking of ideas for TV shows.

I'm very focused on 'Dexter' right now. I want to make it as good of a show as we can.

Movies are a complicated collision of literature, theatre, music and all the visual arts.

It's a very big collaborative effort to do an animated feature and to do a Broadway show.

I really like writing television, and I like the collaborative writers room feeling. It's ten people, and you're together every day laughing your heads off.

I saw some Pixar movies like 'The Incredibles' and thought, 'This is extraordinary. These are some of the best movies I've seen.'

It is so exciting to get a phone call saying you're going to be working on a Disney film.

I love the idea of animation just because it removes the actor from the character, and you can be anything. I've been devouring 'Adventure Time' and 'Archer.' I'd love to get my hands dirty on either of those shows.

No great television show has ever rested on just one person. They're all about great ensembles and storytelling.

My approach to 'Star Trek' was, 'I know science fiction, and I know screen writing.' That was very arrogant of me, but you really need to be a little bit arrogant to think that what you have to say is good enough to justify the expense of hundreds of thousands - now millions of dollars - to make an episode of the TV show.

In an ideal world, I'd love to work on something that is on par with 'Lost' or better than 'Lost.'

Working at Pixar has been like my graduate school for screenwriting.

With network shows, writers can be so protective of every syllable.

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

I'm writing a movie script about vampires with an animator called Michael Booth.

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.