Johnny Galecki Quotes

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.

I personally think the best ideas for TV shows - at least comedies - are very low-fi ideas. High concepts often sell pitches in movies and TV, but, especially in TV when you're talking about hopefully a 100 or 150 episode proposition, those concepts just burn off, and then you're stuck with nothing.

I believe that 99 percent of successful TV shows change an immense amount from the pilot to the tenth or twelfth episode.

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

'Reno' was originally going to be a sketch show, with the cops as a transitional element.

It's so hard to make a comedy pilot and have a cool idea.

Sometimes they keep us in the dark, but it's TV, so sometimes they keep us in the dark because even they don't know yet. You know what I mean? So, it sort of develops as it goes along and according to various needs that arise.

The first season of a show's always a rollercoaster because nobody knows what they're doing. You gotta rush through the season trying to figure out: What is this show? And who are these characters?

'Suits' is 'Suits.' It's grown and changed and evolved in lots of ways that I'm super proud of, but as an actor on a show like this, you try and make it something other than what it is sometimes.

When I got the first e-mail suggesting we cast Zooey Deschanel in 'New Girl', I thought, 'That's exactly right.' In the pilot of 'Modern Family', when Cam is holding up the baby with the 'Lion King' theme, it was very clear we had something special.

[Townies] was a huge cast. It was a bit ungainly, I think with 12 regular characters they had to keep writing for.

Even though 'Glee' is sometimes a hard road, I am very excited about writing a multi-year arc.

Television and movies just take so long. If you pitch a show or develop a project, it can be a year before your show even gets on the air, if it gets picked up.

The thing with film and theater is that you always know the story so you can play certain cues in each scene with the knowledge that you know where the story's going to end and how it's going to go. But on television nobody knows what's going to happen, even the writers.

For 'Breaking Bad,' it was like, that's one of the best pilots, probably the best pilot I have ever read.

Well, usually, when you're doing a sitcom, you get a script and every word or for the most part, is written. So, you know, if it's a 30-minute sitcom, then it's a 35-page script or something like that.

I did a pilot for Anything But Love in 1988 that didn't sell.

There are a couple of ideas for features that I would love to do. They happen to be comedies.

You know what I would really like to do? I'd like to do a half hour drama with comedy in it.

'Homeland' really is one of those shows where they start to write more or less depending on what's kind of going on in a relationship between characters.

I'm trying my hand at writing. I'm writing a couple of projects for HBO, a half hour comedy and a miniseries.

When 'Family Guy' started, we wanted to make it more like a sitcom. And there was very little music.

When I read both pilots for 'Breaking Bad' and the 'Michael J. Fox Show,' I turned to my husband in real life, and I'm like, 'That is an amazing script.'

With any half-hour comedy, it kind of takes on its own life and finds itself.

To me, to spend all the time and energy and face all those creative challenges that you would spend for a two hour movie, you're inventing a world, you're inventing characters. If they're interesting enough, they should be compelling enough to go for five more episodes. How incredibly frustrating would it be to just do one movie?