Kendrick Sampson Quotes

I watch 'Sons of Anarchy' and 'Game of Thrones' and 'The Walking Dead' and think, 'I want to create that kind of television!'

I've worked on 30-something different TV shows, and most of the people can't stand each other.

Doing a TV show, you're on an assembly line and it's as cut and dry as that. There are some shows that are exceptions. There are producers that want really special things.

The thing about TV is it's a meritocracy. I love that aspect of it - and I've had shows that have gone on the air and been canceled. I've seen the good and the bad of it.

Every name in a TV show has to be run by the legal department first.

I don't think a show's ever changed networks in the middle of the season before, but it was cool because they gave us those extra couple years of life that was necessary to get us to syndication.

Blumhouse Books is not an outlet for us to mine intellectual property for movies and TV.

TV is really about keeping things fresh and making sure you have the most energy possible for these very short spurts of time.

In the movies, you typically do get to see the script beforehand. TV is different because there are a lot of scripts in the future that you haven't seen. You commit to a show, and you have to believe in the showrunner and their team and the stories they're going to tell.

Broadcast TV has a very classy but old-fashioned way of doing television. That's what it's always going to be. But you've still got to introduce young talent and ideas and shows to the masses. That's the way you build a bigger and younger audience, introducing younger writers, comics, TV shows to viewers.

Honestly, it's a sad truth, but whenever a show is about to go off air, you start getting hints because the work environment and quality changes.

I will say that Marvel is 100 times more secretive than 'Game of Thrones.' Like, they're not even on the same playing field.

I've been asked to direct pilots for a lot of shows.

My experience in TV is that it takes time for shows to find their way.

There's so much great TV and I always thought it would be such a fun little sideway to make money and then not have to worry about my films making a lot of money.

It's not that writing staffs don't change at all, but they don't change very much. Directors are freelancers. There are directors who do five or 10 episodes of a show every year for years, but most directors are freelance, they come and go.

The thing about working on a TV show is that it becomes, very quickly, all consuming.

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.

In the long term, you have to believe that movies and TV shows will be like the opera and the novel, pretty nichey businesses.

I binge-watched this show Damages. Glenn Close and Rose Byrne are so good. Lily Tomlin is in it. You see all these great actors and the writing is terrific. There are a lot of shows like that. And there are all these conversations right now about roles for women and being paid equally and all of that, but I think what it really is, is opportunity.

Television is also a great tool for women. As you know, the best female roles are often on television, so it's a very exciting time. I've really embraced it. The pace is great, but also not so great sometimes. You feel like you have to make sure to pay attention, at all times, to not let anything slip through.

All my TV shows are done live in front of audiences, and all the material I take on the road and travel with them test them for hundreds and hundreds of shows before I shoot them for TV.

That was something that I learned from Alan Ball from “Six Feet Under." He didn”t really like to have too many pop culture references because they don”t really hold up after a few years.

On most TV shows, you work on a set and do some location.

People who work on soaps all the time understand the formula of how to do it.