Nina Jacobson Quotes

I usually just do, like, studio jobs, re-writes and stuff.

Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.

Acting is my first love and I want to stick to it. But I would be happy to offer my inputs to a script, if asked.

If you're writing, it means getting up and writing all day, and if you're filming, it's getting up and filming all day. I get up, go to my computer, write, turn it off, and go to bed. That is a Clarkson day.

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

For me, when working on a film or play or television show, everything for me starts with the screenplay and I am devoted to that and that is what I work from. Any research I do or any preparation I do on my own is all ultimately in service of that.

In my screenplays - from the very beginning I've always used tape. I talk my screenplays. And then have somebody transcribe them.

I was willing to do anything that Chris Carter wrote.

It's rare to work on a series without a writer. If you have a question about a line, then phone calls have to be made.

I had written a script called 'Freed,' which I had wanted to direct.

When you're making TV, the last thing you want to do is watch TV. It's too much.

I wanted to do an hour-long show, and I wanted to something that was dramatic and sometimes funny and humorous, as well. I'm just delighted to have this opportunity to be a part of this project.

One of the main things I do is focus on ideas and what stories we decide to tell, but probably the biggest part of my job I'd say is working on the storyboards.

'Hardware' came about because I had written quite a few scripts and hadn't had any luck getting them made.

For the moment, whenever I read, it is normally scripts. You start a book and then you think, 'I should be reading these five scripts.'

These things are hard to pin down. We work on a script a bit, then work on a different one.

It's a great luxury to have the writer with you on a new play because you can write and re-write, just trying to get the arc of the story, of their relationship right.

It's great, getting the scripts and working with somebody like Sam Esmail, who is such a great leader.

When I create a TV show, it's so that I can write it. I'm not an empire builder; my writing staff is usually a combination of two kinds of people - experts in the world the show is set in, and young writers who will not be unhappy if they're not writing scripts.

When the script is finished, and you're sitting around at a table read, and all the actors are reading the words that you've written, and you're hearing it out loud for the first time, that is always, every single time, no matter what, a magical process.

I'm a great believer in the novelist being 'on the scene,' reporting, traveling, meeting all sorts of people.

Nothing beats a good part with good writers that you get to come back to year after year.

Making a television show is a difficult, collaborative, creative endeavor, and it really requires everybody to band together and all work together every day.

There have been days where I've had two writers' rooms or three writers' rooms going, and you walk back and forth. And then you sort of throw yourself on the sofa, and you go, 'Just talk at me for, like, 20 minutes,' and my brain will catch up with this particular story. But I find that exciting.

You're thinking about the physical consequences about what you're writing if you're going to direct it. If you're not going to direct it, then it's somebody else's problem, and they'll solve it.