Lisa Snowdon Quotes

I could sell my own TV show, but I couldn't get it made.

I was a novelist first. But in the mid-'80s, I did work in television for ten years. And yes, that was frequently the reaction to my scripts. People would say, 'You know, George, this is great. We love it, a terrific script, but it would cost five times our budget to shoot this.'

A dream of mine is to become an executive producer and writer. I would love if that ended up happening to me in the future.

Developing a series is a next step for me.

When you decide you want to become a television writer, you naively assume it's going to be like the writers on the old 'Dick Van Dyke Show.' You'll write something and they'll just put it on TV. But what you quickly discover is that American network television is television by committee.

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.

I'm not sitting around thinking of ideas for TV shows.

It's very rare you get a great script just handed to you, or sent to you, by someone you don't know.

Lots of shows are written completely in the writer's room. And I wouldn't say 'The Walking Dead' is that way. There are three levels to it. There's us in the room. The writers going off by themselves. And me working with the writers on a finished script.

Everyone has an idea that they think would be a great movie. Everyone has a cousin who they think you should work with.

It's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.

I was full time on 'Party of Five' for one year, then more like a creative consultant for two years, where I was in the writing rotation but didn't have to go in every day or cover the set until midnight.

With network shows, writers can be so protective of every syllable.

There's one great script that hit my desk that I didn't change at all, and that was True Romance.

For sure, without question, the writing is better on TV pound for pound than movies because the businesses have changed so much. So all the great writers would rather work for TV, and they do.

I couldn't enjoy 'A Dance With Dragons,' unfortunately. Of course, I enjoyed it, but it was the first of the books I read as a writer on 'Game of Thrones,' so all I could do is think, 'We're going to have to shift that,' 'We won't be able to afford that,' or 'That's a great scene.'

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

I don't know if I'm always going to be acting. Maybe when I grow up, I will be a scriptwriter. I already have a few scripts in my head.

My focus is films, and 'Angela's Eyes' is one of those TV projects that has some good TV concepts behind it and good writing.

I've read many great samples, both of existing shows I liked and original pilots, and definitely hired the writers - or, at least, tried to!

I went to USC and got my first break writing for a kids' show called 'Pepper Ann.'

I want to create and write scripted and unscripted shows, digital shows, stage shows.

The painful part of being a new writer on 'ER' is that you come on with all these great ideas, and you find out we've already done them.

Writing a script is hard, I've discovered.

It takes a year for us to generate a script that is ready to shoot. There are maybe 20 drafts of a script. And, each time, someone saying 'I don't really love this,' we discuss it for 15 minutes.