Amy Hill Quotes

When we made 'Fireball XL5', I'd never heard of NBC, and I didn't even know what American networks were. I knew that it would be wonderful if the show was successful in America, but I knew nothing about the American networks.

I don't hate the music, but I hate the process. When I look at it, I don't see song titles and artwork, I see the fight - I see the emotions, the blood, sweat and tears. There are a couple of songs on there that I love; but 'Lasers' is a little bit of what you love, a little bit of what you like, and a lot of what you had to do.

I was fortunate to be part of a very successful show on CBS in 1986. I switched to NBC for eight years and through these experiences have gotten terrific insight into television; it's a fascinating medium.

I do prime time network shows like 'Blue Bloods.' I've done 'Fringe,' I've done 'The Good Wife,' done a lot of 'The Mentalist.'

It's funny - I was a big fan of 'The Sopranos.' It became kind of a threat to 'The X-Files' in a way because they could play with language, character, and story in ways that we never could because of the limitations of network television.

In TV, there's so much compromise, it does start to grate a bit. But if you're a writer or an actor, it really is the place to be.

I did a TV show that didn't last on ABC called 'The Zero Hour,' and my character was working at a magazine.

I landed a job at HBO, working for two years on the 'The Alzheimer's Project,' which aired in May 2009. I was fortunate to work with a great mentor, producer John Hoffman, and the amazing doc filmmaker Susan Froemke.

Some of the best memories of my career have been with 'Sunday Night Baseball' and I will miss my time with our amazing crew, who have been like family.

Sometimes, you have to sacrifice your talent to please the public.

I respect the hell out of everyone who does a network show. That is a marathon. It's so many episodes, and it can be a meat grinder. Anyone making a network show, and on top of that making a very good network show, that's an insane feat of Herculean endurance and fortitude.

I did a pilot for Nickelodeon that didn't end up going to series.

If you drop a line in the theatre, you can usually find a way round it. But you can't do that as easily on television - you're in the hands of too many people.

You don't really have time to do other than what's written. It's very rigid. Shows have a certain rhythm that nobody wants disturbed. So a lot of that doesn't take place on television, at least the television I was doing at the time when I first started.

It is extremely difficult to do anything constructive, let alone deep, on daily commercial television, especially on a talk show.

Anybody who wants to make television has a tremendous problem because it's a financially restrictive media in this day and age.

here's a huge amount of work that goes into placating a network in regular television. It's literally 70% or 80% of your workload, is showing them the material, getting their notes and presenting it to them and making sure they weigh in. It's a huge amount of work.

I'm not a movie person. They're collaborations of the worst kind. You must compromise yourself to many interests that are venal and crass and do not have your best interests at heart.

There's a lot that you can do in television that you can't do with a film, theoretically. At the time, the only possibility was to do a movie.

There's still formulaic stuff on network television, but there's also more of an opportunity to have your way with storytelling, especially in sitcoms. That's what the difference is.

Nothing can injure a man's writing if he's a first-rate writer. If a man is not a first-rate writer, there's not anything can help it much. The problem does not apply if he is not first rate because he has already sold his soul for a swimming pool.

The network told me to get rid of Number One, the woman first lieutenant, and also get rid of 'that Martian fellow'... meaning, of course, Spock. I knew I couldn't keep both, so I gave the stoicism of the female officer to Spock, and married the actress who played Number One. Thank God it wasn't the other way around. I mean Leonard's cute, but...

When you do 22 episodes of a network show, it's incredibly useful to have a format that gives you a jumping-off point for a story.

There used to be a huge snobbism between the film industry and the television industry. I produced and acted in my first - well way back - but the first thing that I produced and acted in was Sarah, Plan and Tall. And the only place to go at the time for really quality television was Hallmark Hall of Fame. And think how much television has changed since then.

I don't know how to sell out. If I tried to sell out I don't think I could.