Scott Rogowsky Quotes

We originally developed 'The Client List' along with Lifetime as a TV movie - my manager and I became partners on the project. Then, we brought in Howard Braunstein on the project and produced it along with Lifetime.

I definitely want to start my own production company at some point. I'm actually teaming up with Funny or Die to put together a TV show right now, that I can't really talk about because it's still in the very preliminary stages, but if it pans out this will be the first project under my production company, which I have yet to name.

Most TV shows are writing the next episode while you're directing the one you're doing, and they're trying to figure out what they're going to do, and they're putting it all together.

I already have a production company called J Squared and we're working on two projects.

There is a variety of different kind of producers. I'm a very hands-on, creative producer. I find material that I think would make a good movie or TV show, find the right financier/studio/network, hire a writer, get a good script, find a director, and collaborate with him/her to cast the movie and hire department heads.

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

For the last four or five years, I had been in the position where I didn't have to take a pilot. I took this one because the script and the people were terrific. It never frightened me. As we were doing the pilot, I could tell that it was working.

I came to 20th Century Fox to do movies, and then they started a network, and they asked me to do a show as part of their starting what became the Fox network.

I depend on good editors and a good director.

The great thing about being a producer on a project is that you get to see the ins and outs of every piece of the puzzle. There are so many elements involved in every aspect of a film's development that I don't think the average person is aware of, which is, I guess, why the whole process is referred to as movie magic.

In TV we've used something that I love... it's called process. I love process.

I don't know much about writing a show or being a show-runner on a show, but I can only imagine that when you first cast a show and you first do a pilot, there are so many components that you're throwing into the mix and you're not sure how they're going to develop.

The writers on my team and the producers and executive producer should be called talent. We anchor four hours on Saturday and three on Sunday. How they do that astonishes me.

What's great about making movies is the sort of additive process of bringing people together and having an idea and watching the idea be added to and at the end you have this thing.

Television is certainly a writers-led medium. They're the ones who are there, they're the ones that are conferencing or whatever, with directors coming and going.

One of the things that takes a bit of getting used to on an American series is having a different director, and often writer, every week.

I've started a company, called Tall Girl Productions, and we've got our first project that is purely producing, not writing, with a writer named Evan Daugherty. It's for NBC, it's called 'Afterthought,' and it's science fiction-ish. That's fun.

I still make videos in my bedroom by choice because that's the feel of my comedy, but the opportunity to make longer format content with a production company, with a team that's a bit more elevated in that sense, is really exciting for me because it's not that it's better than what I've already been doing, but it's different.

Amy Rapp, my producing partner, and I are drawn to character-driven material. We're developing and producing movies and TV, fiction and non-fiction, studio and independent, broadcast and cable, theatre, and web so our slate is really diverse.

We couldn't pitch the show without having created one, at least one 20 to 25 minute version of 'Broad City.' We wouldn't know how to describe it.

People recognize certain things, like 'D' means 'this dialogue stinks.' We're dealing with shows that are written here, shot in New York and posted back here. Accurate communication is a necessity.

I don't think you can really make television based on what you think audiences want. You can only make stories that you like, because you have to watch it so many times.

Part of making TV is the process - you just have to churn it out.

In television, you make an hour-long episode every seven days; we used to make 'Party Down' in four days per episode. It's quick and with independent movies is the same: you gotta keep moving. It's very similar.

I pretty quickly move from an idea to possibilities for execution. If there's one advantage, I think, with working in television for even a short amount of time is trying to gain a faculty for processing a storyline or an idea and how to then best implement that and execute that as swiftly as possible.