Steven Knight Quotes

When we shoot 24, there are so many things I have to worry about, from the script to technical things to my performance, that I don't have a second to be bored or take anything for granted. We produce 24 hours of film a season, which is like making 12 movies.

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

I've been lucky enough that in the U.K., I've done shows that have aired once a week. I make a show there that runs seasonally, and we make one episode a week, and that is great - the value of time. You can really think and finesse what you want to do.

It's a lot of hard work to do a weekly TV show. It's certainly not fun.

I kind of want to learn how to direct TV. It's interesting.

A TV show is constant work, which is the great thing about it.

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

Making a movie is a lot of problem solving.

I intend to do more directing TV.

When you make your first film, there is a hell of a lot to think about, and you've got to have a gut understanding of your material.

In TV, you're always confused because you legitimately don't know what you're doing the next week.

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.

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

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

I really enjoy working in television and the evolution of a character over time.

With TV, your first draft just doesn't matter. It's a skeleton, and then there's draft after draft after draft, and so many other factors influence it. It's just a whole different kind of storytelling.

I imagine when you're making a reality show with a whole crew, it's bound to get complicated.

So you know, as a filmmaker you have to get it all right in the writing stage. After that, one has to leave it on the judgement of your trusted ones and the audiences.

In a nutshell, directing 'The Gift' was all about understanding how the complex machine that is 'Game of Thrones' works.

I have a notebook, and I know what decisions will be made in pre-production. Everything is pre-determined in the pre-production period. I visually design the whole thing, and I know when things will happen.

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

They've got to deliver twenty-six episodes a season and they're not going to beat their heads up against a wall if they feel something didn't, like, pan out the way they had hoped.

The reason I wanted to start directing is that as an actor I felt I came into a job late. There's a whole team of people who have been working on it for months before you start. You have this really intense period of filming and then you leave it, knowing that the director will work on it for another few months.

I like to direct movies, but I don't like to goof around for eight years talking about it.

It takes a long time to get a film made.