Laurence Fox Quotes

If you go to pilot then you are probably going to go to series. That's my feeling about it.

I wrapped that Monday and started on my third episode for Miss Match on Thursday of that same week and we just wrapped yesterday cause it was split over the holiday.

Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.

I have 16 years in Dallas. I would love finish it off there. But I also understand and am not naive enough to think that... it may need to be somewhere else. I think that's how this business works. So you have to be open to that idea, for sure.

I left for Fiji 36 hours after we wrapped 'Lucha Underground' season 4. The producers of 'Lucha Underground' had to bend over backwards to get me wrapped out of the season to leave for 'Survivor.'

During the first season of 'Human Giant,' I remember the people at MTV were all over us. They hadn't really done a live-action short-film comedy show, so they didn't know what it was going to be, and they were worried. But after that, they let us do whatever we wanted.

'Spooks' was unique. It took up such a lot of your life - I think we did 10 episodes for the first few seasons. That's six months of your life.

Working in MTV's development team, my days would consist of pitches and deciding which concepts we wanted to buy. We would then develop those into a pilot. Very few ended up making it to a full series, but if they did, I would manage the project alongside the show's creators.

I went straight from filming the second season of 'Survivor's Remorse,' and the creators over there were so supportive in letting me go early so I could film 'Chi-Raq.' And that was an amazing experience.

The goal is not to just do 'Video Game High School' every year. We want to grow into a real content production company. We want to be Pixar or HBO. We want to make five series a year or 10 series a year.

I've done a lot of television over the last years, and you know, with some television productions, if you can do with just one take, you can move on and do something else.

Professionalism and punctuality are extremely important, especially in the career path I've chosen. Being on sets, film schedules can be very stringent and tight. They are sometimes at odd hours in various locations. Being there when you're called just ensures that the day starts smoothly.

Being on a weekly series, you see these people so much, and you have these genuine interactions with them where if you're away doing a film, it's a little different because there's - these definite end dates to everything.

Another thing that makes the process different is we go in there and are completely immersed in [that] world for however many weeks and then we would leave and they would be animating for however many weeks and we wouldn't have anything to do with it. Then we would come back and see all this work that they had done. So it just took a lot more time than it would on anything else.

TV can be fairly rigid. I've done enough Network TV to know that it's fun but if I have to go somewhere every day maybe it's not the most satisfying [job].

I love doing 'Castle.' We pump out 24 episodes in 10 months, and we work long hours. We do lots and lots of takes, and everyone there is a talent machine. It is a taxing endeavour to say the least, but when you get into a groove, it doesn't matter if you're tired, it doesn't matter if you're sick. You can do it.

There are people who like short movies, and I think they should just watch our movies on DVD because they can pause, go to the bathroom, eat dinner, and come back to it.

This is Malaya. Everything takes a long, a very long time, in Malaya. Things get done, occasionally, but more often they don't, and the more in a hurry you are, the quicker you break down.

I wouldn't be interested in [nowadays] television simply because I think it goes too fast. Except if something was maybe a play on television or some great television script.

What I find is that you can do almost anything or go almost anywhere, if you're not in a hurry.

I always wanted to work with a TV. So I'm open.

The thing that's helped me from wrestling is sometimes when you do live television, things change immediately, so you can be immersed in one story and then the story shifts. Ultimately, if you just get the point of what you're trying to accomplish, if you know the story, then you can put forth a good product.

I've never produced a series, so for me [X-men] was a wonderful challenge.

In television, I don't feel constraints. I feel a lot freedom to maneuver.

It's like time travel only, you know, slower.