Aaron Spelling Quotes

It used to be that you had to do a certain number of episodes to hit syndication in order to try to keep a show on, because it's important to the network because it sells good commercial time. That's really not how HBO does things.

Well directing TV is very time-consuming, so if you are going to direct TV, a season will take a year out of your life.

Being in the industry, I've seen many situations where someone will get the call from the network where they say 'You guys have 5 episodes to wrap it up.' Then all your long-term story arcs gotta get wrapped up in five episodes because that's how many episodes you got left. I would hate to see that happen to 'Castle'.

I really wasn't on the Dallas set much. I did three or four episodes so I didn't see too much.

Network shows shoot so fast, so you kind of have to just go with your instinct.

I enjoy the process of TV; I like the pace of it; I like the continual work.

The weird thing about working in television is that you only see the people that you're in scenes with.

With TV, you just have to finish the days and get the episodes out. And it's always going to be an impossible schedule. That's the funny thing with TV that not a lot of people realize.

I worked with her on the second season of Dark Angel in Vancouver, one of my first real jobs.

Ten episodes goes by really quickly, especially when you've got a really tough shooting schedule of seven-day episodes.

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

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

I don't think a show's ever changed networks in the middle of the season before, but it was cool because they gave us those extra couple years of life that was necessary to get us to syndication.

I've always had a show that went seven episodes or 13 episodes or whatever. And I've never had a show that's gone past a first season. It really is a lot of work.

As actors, if you get a pilot on HBO or on USA, your odds are good that it's going to get picked up.

I am currently talking to one of the studios about making American Star as a TV series.

Looking back now on our workload, I just shake my head at our pace. 'Star Trek: The Next Generation' was my first series, so I didn't know anything about that when I started. I just assumed it was normal to make 26 episodes a year on a seven-day shooting schedule.

I guarantee there's people who watch television who have no idea how complicated it is to make a television show.

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.

As a television actor, when we work in TV, what we're doing is making a product so that networks can sell ad space.

I come out of TV, where you never reshoot, because you don't have time. If you do reshoot, it's because someone really screwed up.

I did a network show in the U.S. before, and I loved it, but you have eight days to shoot an episode, and it's just a ridiculous pace.

I really enjoy working, you know, on streaming outlets because there's so much creative control for the creators of the shows, and, you know, you're allowed to make such great television.

Usually in TV... A TV director could be anything from a main grip to just a glorified cameraman, and sometimes a director can be the person who is hired last. It's very much a producer's medium.

We work the full year round to make 10 or 12 episodes, and 'The Good Wife' makes, like, 26 in that time or something, which I can't believe. I don't know how they do it.