Hedda Hopper Quotes

Friends of mine were the creators and executive producers of 'Damages,' people I knew from graduate school.

TV isn't like films; you can't rest on your laurels.

I developed the pilot for 'Entertainment Tonight' with Jack Haley, Jr. and Al Masini, who became my business partner in 'Lifestyles of the Rich & Famous,' 'Runaway' and several other shows and specials.

And then I went into television; and then television moved from the East Coast to Hollywood.

The thing about TV is it's a meritocracy. I love that aspect of it - and I've had shows that have gone on the air and been canceled. I've seen the good and the bad of it.

I think in reality, today, if you use the same tools as everyone else, you kind of build the same products.

Cable TV has become where the best actors, writers and directors have gone to work because they are allowed to do character-driven stories.

Film people are coming into TV, because they can't get any work.

Genius worship is the inevitable sign of an uncreative age.

The friendships I made on 'L.A. Law,' with the cast and Steven Bochco and David Kelley were really wonderful.

I have heard a lot of people talk about this grind of series television. I have not seen it yet.

I was an absolutely untalented designer.

Making good television is what Simon Cowell does. That's his business.

Ultimately, in regular television, you've got seven or eight executives and maybe 50 people in the room with dials who are deciding whether a show goes - and it's not a great way, because we're making mass entertainment.

I feel like I don't have much of a preference. With TV, it's just a longer process, so you need to be more sure that you really want to be involved in it for a longer time than you would be with film.

I know all my tricks, and I'm pretty bored with them, so if that's all someone wants, I'd rather wait for TV money and not work so hard.

A lot of amazing films are happening, a lot amazing TV shows are happening, and people are not afraid to pick actors instead of stars.

I've never been in the studio world; TV is as close as I get to the more corporate approach to making entertainment.

Working on movies and TV is a blast, and ILM has the most talented people in the world. But on 'Mythbusters' I've been able to go places I would never have access to otherwise.

Sitting around with funny people, banging out jokes and creating a television show. I have no hobbies, no outside interests. I'm fine with spending 14 hours a day putting a show together with tape and string.

I have a production company, and we work with reality TV producers 44 Blue. They asked if we'd like to get involved. When they explained that it was the first transgender modeling agency, we said, "Yeah, of course!"

At network television you could make a show like Freaks and Geeks, and even though 7 million people watch is every week, you were considered a terrible failure, and they got rid of you and staff. Now ... It's like a world where the replacements are the biggest fans in the world. It's, the Elvis Costellos of television are the winners. Creativity is king and it's very very exciting.

Television is a great job for a writer in the way that movies used to be, way before my time. Back when writers in Hollywood were on staff or under contract at any given studio and you'd write movie scripts and then the movies would get made within a few weeks, such that you could be a working writer in the movie business back in the '30s and '40s and '50s and have a hand in writing five or six movies a year that actually got produced. The only thing remotely like that in the 21st century here in Hollywood is working in the TV business.

When an artist becomes complacent, he dies.

I love doing 'Castle.' We pump out 24 episodes in 10 months, and we work long hours. We do lots and lots of takes, and everyone there is a talent machine. It is a taxing endeavour to say the least, but when you get into a groove, it doesn't matter if you're tired, it doesn't matter if you're sick. You can do it.