James Wolk Quotes

The truth is, we have this idea that late night is about creativity and being cool, but that's not our job. Our job is to get as many people watching the commercials in between our show. That's the reality of it.

What I can say that's different in American television... in Britain, they wouldn't cancel something after a couple of episodes. In the States they would. They would just decide it's not working, take it off and put something else in on the fall schedule.

Reality is a genre that seems to be here to stay. I don't know how many of the new shows will last, but the more competition you have, the harder that pie is to slice up.

Summer is a great opportunity for all of cable. People love to find original episodes.

Most of the best writing, the most creative writing, the most interesting, the most out-of-the-box kind of stuff, is being done on cable, you know, and on the computer. I mean, whatever it is, Amazon or Netflix or something. Because they're just willing to take chances, you know, and there's a market for it.

'Cinnamon Girl' is a game changer for our network and is exactly the type of show we want to deliver.

I think it's important for History to keep experimenting with their shows. The more documentary-driven, the returning series, are the bottom of the iceberg under the ocean that keeps it moving, and then it's important to take those swings and see if we can ignite a spark with new audiences.

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.

HBO does something that most networks don't do which is give a show a chance to find their voice.

To me, television is one of the most exciting things going on right now, as far as content goes. Some of these shows that are on television are better than any of the movies out there.

With a strong foundation in scripted programming firmly established by 'Army Wives' and 'Drop Dead Diva,' Lifetime is aggressively expanding its drama series development plate with powerful programs from creative auspices who have strong pedigrees in producing stand-out programming.

The simple fact is that not enough people want to watch my program, and I owe it to myself and to CNN to get out of the way so that CNN can try something else.

I have got lots of offers from networks for more reality shows.

I've always been a huge fan of Netflix and its storytelling.

On 'Avatar', I learned that it's worth taking some risks and doing some weird little things with characters or having an off-joke here and there, even if it's only for 5 percent of the audience.

You can get bored up there on stage, night after night. But it's an open forum where you can get away with almost anything, so you might as well do it.

So much about getting onstage is creating a connection with an audience that allows you to go different places and try different things.

History suggests that big corporate maneuvers tend to coincide with changes in morning-TV fortunes, either because the new managers tinker with the product or fail to take it seriously.

I suppose that I'm excited by exciting theater. It takes a risk to show us the world in a new way.

I always look for projects that are risky and ones that want to do something unique. If audiences don't like it, you feel good knowing that you were brave enough to do something original. If they do like it, you feel like everyone is rewarded, because we all got to see something new.

The BBC is a very confident broadcasting organisation and it needs brands like 'Top of the Pops' and 'Top Gear.'

Sometimes when I'm reading a script, I can't quite believe that this is going on television alongside cereal commercials.

I can try new genres because I know there are fans who will always be there to support what I would like to pursue.

I love TV and am happy doing TV shows.

We always had one eye on doing Saturday night TV even when we were back doing mornings. That's where we wanted to go to get a bigger audience.