Jaime Ray Newman Quotes

I just feel like they're a network I have a good vibe with, and I'm very grateful. My first job with a network was 'General Hospital,' and that was ABC. I feel like I have so much history with them, that they treat their shows well, and they have good, discerning taste.

I think NBC got a little reluctant to get behind single-camera shows after 'Scrubs' didn't do what they thought it was going to do following 'Friends.'

I was in one of the first sitcoms that had a lot of Asians in it. It was called 'Gung Ho' on ABC.

I love working in television, and I've been thrilled to be a part of so many wonderful shows. I worked with Lady Gaga on 'Gossip Girl,' and the brilliant Felicity Huffman on 'Desperate Housewives,' but I think my favorite TV job so far was the pilot I shot for the CW Network this year called 'Joey Dakota.'

A show that no one thought had a chance has just finished its fifth year: Charmed. I think it's tougher for the younger networks, so I think they have a little more patience for the sake of the show. But who knows?

Network's rating dependent. A show might not stick. A lot's timing. Like, my Bradley Cooper in 'Kitchen Confidential' didn't always work. Cable supports young shows. TV Land, which you can find on Hulu, Amazon, iTunes, wanted 'Younger.' They came to me.

I came to NBC on 'Friday Night Lights' and they have supported that show and found ways - unprecedented ways - to keep it on the air for a long time. And when I came to them with the idea of doing 'Parenthood,' they not only supported me in doing it but also got behind it in such a way that we were able to put together this incredible cast.

The same issue is happening on a show like Everybody Loves Raymond now, which is in its eighth year and struggling to come up with good stories. It'll be interesting to see how they do. The bottom line is, it starts with the writers and ends with the writers.

The slapdash way producers used to assemble a show seems a little unbelievable when we talk about them now.

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.

I shot a pilot for ABC, which I'm a bit confused about what the actual title is - I heard it was called 'Chosen.' It's directed by Roland Emmerich - the master of disaster himself - and it's his idea and concept for the show that's a supernatural thriller about good and evil set in contemporary modern day New York.

A lot of the TV shows, they do long hours, and they do a lot of days, and you don't get a lot of time. But the good thing is, if you get one that's made in L.A., or made in a place you want to be, you get to go home every night.

'The Newsroom' is phenomenally bad good TV. Sam Waterston and Jeff Daniels and Emily Mortimer are all terrific! So is the production, and the direction, and even the editing!

As actors, if you get a pilot on HBO or on USA, your odds are good that it's going to get picked up.

I think it's really important to have good quality drama on TV.

There are younger people watching CBS, but their audience isn't 13 to 25. The CW specializes in that.

Not many people get to create a television show that actually makes it on the air.

Lifetime never had any unscripted shows, really. It just had 'Project Runway,' which was a bit of an island.

I don't have any personal grudge against Vince Russo, but I just know watching the shows that all his shows look the same.

Fred Silverman, the head of ABC, he offered me a lot of comedy series but I told him I'd already been the best comedy series around, "The Odd Couple," and so when he saw that I did Quincy he called my agent and said, Jack turns me down? All my good series and he ends up playing an undertaker." And this was the HEAD of ABC series.

I am of the opinion that there is more high-quality television being produced than at any time in the history of television.

We've been playing a lot with television. We have some shows set up and then some new shows that are about to be set up. That's gonna be kind of a fun thing for us as producers.

It is tough, every time. The ensemble is great. I would always ask Andrew, "Is this how Hollywood is? Is this how every TV show and movie is?" And he was like, "No, dude. This is not. Do not get used to this. Be thankful that this is how your first gig is."

You're used to a TV show, and TV is just made for TV shows. It's not made for live events.So anyways, I was resistant to it, but I did it anyway.

Tucker's Witch was the first television I'd done in a while. It was just before Moonlighting, and just before you could get a little more outrageous on TV. We had a great premise.