Tom Ellis Quotes

The first time that I saw people actually make the thing that I wrote was my first episode of 'Six Feet Under.' It was called 'Back To The Garden.'

And of course Marc Cherry heightens it and makes it hilarious. But there's so many universal themes in the show, and he made it so funny. We knew he was onto something if he could keep it up and, thankfully, he did.

I learned so much from the writing on 'King of the Hill', which I thought was just magnificent. They would let real moments happen in this animated, one-dimensional world. I feel like I've been in school this whole time.

I did an episode on the TV show 'Awake,' and I thought, 'Wow, that's really hard.' To do that so fast and to do that, if it's very successful, for nine months out of the year, for a bunch of good years, that's challenging. But, it was interesting. It's a good show. You'd have to have a very good character, I guess.

I've never directed before, so I need to make sure that people know that I can. The movie that I've written, 'The Sophisticates,' is a... small ensemble comedy and I hope it's charming and funny.

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

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

I'd love to do another television series. I really love the writing process, and as an actor I really like how much you get to examine in television.

No great television show has ever rested on just one person. They're all about great ensembles and storytelling.

I am one of the new characters in the brand new series of 'Postman Pat.' It has been a joy to do.

It's always interesting for me to watch the pilot of an established show because you see how the writers and actors weren't really sure what the show was and what the dynamics were. If you look at the pilot for 'Seinfeld,' for example, it's practically unrecognizable.

I've requested Anand Raghav to write a full length comedy for me.

The best comedies are the ones where the person who's in charge is the one with the vision who's said, 'I'm staying with this till the very end.'

That's the best way to work on a project: talk to the director. In the end, it's the director's idea of how they perceive the movie and how they perceive the characters.

I rarely do any back story. I often get a thick bible of back story, but I can't use it. The back story is a tool of the writer. But I can only act what's in the scene.

I want to tell Miranda's story more broadly than what I have been in these five-minute videos on the Internet. She can live in a longer format.

I loved working on 'Murphy Brown,' and I loved working on 'Monk.'

The one thing we pride ourselves on the most with writing 'Car Share' is that it's hard to predict what's going to happen and that's hard to achieve, especially with comedy.

I loved working on 'Boardwalk.' I had a very limited run on it, but I did love it and that was quality television.

I've been fortunate to work with partners like Weinstein and John and Art Linson in developing 'Yellowstone' and am grateful that it has found a home in the Paramount Network. The show is both timely and timeless.

When I was a staff writer on 'NYPD Blue,' it was truly my job to hear David Milch's voice for that show and to deliver episodes that embodied that voice.

I wrote on the fourth season of 'Arrested Development.'

'Nathan for You' was my first time being in a writer's room, really.

Listen to Your Heart' was a blank slate. Yeah, there was this outside idea of 'Bachelor in Paradise' meets 'A Star Is Born,' but what does that mean? You have to actually define that, make it happen.

I watch 'Electronic Boy' faithfully every week - not because I like the show but because I'm interested in where the smartest T.V. producers and directors are going, what direction they are headed in.