Henry Winkler Quotes

I think what's so great about TV is I don't know if all these things were planned at first, or if they see the fans' reactions to things. They really do listen to what the fans want, and feel strongly about, and push for, so all these things are happening organically.

The neatest thing about television is that they write for you... They find out what you can do, what you do best, how it works, and how they can use you.

When you're starting up a show, you don't really know what direction it's going to go.

Now that I know what goes into making a pilot, keeping it on the air, and keeping your fans, I'm at a point now where I do a pilot and just hope for the best. If it doesn't work out, it doesn't work out.

Being an executive producer allows me the opportunity to create original content, and I can't wait to show my fans what we have in store on 'Kocktails with Khloe.'

In television, there's this weird sense of isolation from your audience; you kind of get this feeling that you write the show for you and your wife and your friends and the other people who work on the show. It's our little show, and then it goes out into the world, and somebody watches it.

It's actually much harder to develop a TV show than I had anticipated.

I really enjoy working, you know, on streaming outlets because there's so much creative control for the creators of the shows, and, you know, you're allowed to make such great television.

I would love to be on a really good show and share all the stuff that goes into creating a big TV show and get my audience into it. I think that makes it personal and makes the audience feel like they're a part of it.

Finding new voices with fresh ideas is the hardest and most rewarding part of a television executive's job.

One of the things I've learned - before I would go on a show, I was like, "Oh God, I hate that show" or "That show is gonna get canceled." But now after being full-time on a show, you see how difficult it is and how much work goes into it and how so many decisions are based on finances or people's schedules or talent or location issues. It's a miracle that anything gets made.

There's a forgiveness that literary audiences will give you that film audiences don't give you. It's the two hour construct. You're in there and it needs to climax and finish.

Making a television show is not like making Coca-Cola or Bacardi rum. The human element in our business prevents us from finding a successful formula every time.

An audience is not brought to you or given to you; it's something that you fight for.

I think ultimately a fan is a fan and you can't put new things on the fans mind if you don't have an audience.

I think network television is really hard because it has to sail right away. HBO's so much more nurturing, patient. They think it takes a while for a show to kind of congeal and figure out what its strong spots are.

You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well.

I'm always kind of off to the next movie, and focused on making sure that the one I'm currently working on is as good as the one that's already on TV.

Television is a big roulette table on so many levels. That's all it is for actors.

The type of person that might thrive on Vine in a six-second clip might not be the same kind of entertainer who would shine on a 10-minute vlog on YouTube. If anything, having these different platforms gives more people a chance to creatively express themselves.

You don't necessarily need expensive gear or giant budgets to reach an audience.

Generally I try to be on set as much as possible, especially during the early part of a season. I read all of the outlines and scripts and look at the auditions and the cuts for my other shows and give notes on all of that. There's a lot to do, but I enjoy nothing more than being on set because that's where the magic happens.

I need to create a whole cinematic experience. I think that's what it takes to get the audience to the theater and justify seeing [a movie] on a big screen. You have to give them a cinematic experience.

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

My job is not to try to give readers what they want but to try to make readers want what I give.