Eric Morecambe Quotes

I share an office with Jason Sudeikis, and I'm friends with him, so I end up writing for him a lot.

It's good to work with a writer-director.

I did a series called Ned and Stacey for two years for Fox back in the 90s. I was writer on it as well as a producer, and it was very important to me that there were no contemporary references.

I'm proud of 'Sinister' because Scott and Cargill did a great job on the movie, and I set up a framework for them to make what they wanted to make. They gave me the idea, and I figured out how to get it out into the world.

The first and primary requirement for me in a director that I'd want to work with is: do they love writing, and do they love the collaboration process with writers?

Every so often, it's time to make a change with a showrunner; you evaluate the creative and how the show is run, how the writing staff works.

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.

The director in TV and the writer and the creator are working very much hand in hand.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

Collider is a company that I formed with a movie producer, Alisa Tager, and we just wanted to create a place where writers could come and develop their ideas without a regard to limitations of form.

One of the things I really love about TV is this symbiotic relationship you can get between the writers and the actors, and the characters start to come to life because you start to collaborate.

Some writers and producers are currently writing a sitcom for me, so we'll see what happens there. I'm somewhat reluctant to talk about some of the upcoming projects that I'm working on; I've a lot of stuff on the go, including five pictures that I'm looking at producing.

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

Since signing with Universal, I have been working closely with Gary Ross, the director, producer and screenwriter. We have spent many hours on the phone, and I've been sending him information and items that have been useful to the writing process.

It's much like writing a screenplay with someone else and that's how we view it, I think.

In my experience in series TV, if you have a good crew and a great cast, it's going to be a great group - similar to the theater where it's a bunch of people who are really talented and go to work each day and challenge each other, and if you are lucky enough to get a hit then it's five or six or seven years of this kind of work.

I'd been working with Chuck Lorre since the dawn of time, starting with 'Dharma and Greg,' so when I get a call about a really cool opportunity to work with him, I say yes, even before I know what it is.

In a way, 'Lost,' or maybe TV in general, is a kind of a contract between the writers and the viewers. And the actors - of course we have a great deal to do with it - but where the drama's made, sort of where the meeting of minds is, is between those two parties: writers and audience.

I loved doing 'Gilmore Girls.' I love Amy Sherman-Palladino. I'd do anything with her.

Netflix is looking for interesting ideas from interesting creators. They really want to help me make the show I want to make.

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

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

All the writers for 'The Chi,' they're all phenomenal, so I'm just working on projects with them. They have great scripts.

Writing 'Father Ted' with Arthur Mathews was like being hooked up to a drip full of endorphins.

I'm a writer-director originally from Rhode Island, now living in Los Angeles. I've spent the past eleven years working with a writing partner, Joni Lefkowitz, and am now making the transition into feature directing thanks to this script we wrote together and our incredible producer Jordana Mollick.