Amy Hill Quotes

I think it's a lot easier to put together a reality show than to actually create a scripted show.

When I was in school, I was always writing scripts and dressing up as characters. I'd constantly be that guy who'd get up on stage. I used to write imaginary TV shows, like soap operas, for fun.

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

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.

In every soap, at the end of the season, relationships end and people leave the show. You look at characters and evaluate whether they're great characters or not, and whether they have a future in the show. And we did all of that.

In every writers' room I've been in, the first 15-20 minutes of the day are spent discussing water cooler moments from last night's big shows.

Ever since I was introduced to Ekta Kapoor, I have learnt a great deal from her storytelling, and the learning continues.

I can't work in Indian serials, as they are too long... they run for years.

All love stories rest on the leads, and if they work, the show works, and if they don't, the show won't work, no matter how good the writing is.

It was interesting to write ad films and scripts for TV shows before I moved on to writing a feature film. That helped me grow as a writer, and I also found out how long I could sit in front of a computer and see something through.

Sometimes there were certain things in 'Limmy's Show' where I'd be having to come up with six episodes and as a result there was stuff in there that wasn't my favourite and I'd think, 'ach I'll shove that in this episode.'

You look at shows on cable, and there's a lot of smart writing out there.

I'd love to do something totally different on TV like a period drama, but if I did go back to soap acting, then it would have to be with 'EastEnders.' I just couldn't go anywhere else.

I have a DVD of 'Lois & Clark,' and I don't know how the special effects hold up, because all the technology's gotten so much better. But the writer - the woman that wrote 'Lois & Clark' - I think those stories were good.

That's what my job is: to create quality programming.

I want to make my own Netflix originals.

With 'Deep Space Nine,' I learned that when you get a script, you should give honor to the writer. On 'Larry Sanders,' even on '24,' you could make up stuff.

I started out working as a script editor and storyliner.

Going from 'Dexter' to 'Powerpuff,' there was a lot of dialogue, there was a lot of... you know, we did action, of course, but I was getting burned out on the words, and both shows had this big, thick black outline.

There is so much that I love about all aspects of making a film or a TV show.

Around 2000, I was working on cartoons like 'PB&J Otter' and 'Doug.'

'Criminal Minds,' our original show, is a phenomenal show, and all elements of that show work so well. I think that 'Suspect Behavior' just didn't click. I don't think it has anything to do with spin-offs. I think a spin-off still has to be successful on its own.

Honestly, the life of a serial character on television, I'd love to write an essay about it.

In a time when supernatural dramas are taking charge, Dil Toh Happy Hai Ji' is a slice-of-life story. I have grown up watching such shows and I am sure the audience will love it too.

Writing a novel, when it's all going well, it's wonderful. You're lost in the world, and you have a relationship with your own mind. Also, as a novelist, you don't have to yell at anyone. But being an executive producer of a TV show, all you have is people coming at you with questions, and you're making decisions, decisions, decisions.