Brandi Rhodes Quotes

I did 'Footballer's Wives' for two-and-a-half seasons and I asked to be written out.

I had it in my contract with CBS, a very weird clause that was never written before and certainly not since, that if I wanted to do a variety show within the first five years of the contract, CBS would have to put it on for 30 shows.

I have a fun clause in my contract. If I'm not having fun, I can leave.

First of all, it was in my contract. I knew I would be directing an episode.

A record company used to be a very good thing, but they ended up soul-destroyingly trapping people in the accounting department. And you couldn't get any further, and the heads of each department were changing all the time, so you couldn't have any permanent relationship within the corporation.

The first principle of contract negotiations is don't remind them of what you did in the past - tell them what you're going to do in the future.

In September, I left the show. We were going through discussions and negotiations, and I had been on the show for about 11 years, and there were some things that I was asking for that I didn't feel were the moon or the stars.

The cutthroat part of it is that professional wrestling has no union. There are a number of people that are taken advantage of on a daily basis.

Having a studio tell you when to jump and how high eight months of the year for six years is not a relationship I want to get into again.

I've been approached in the past to option my stories for television, but prior to Evergreen, there were no assurances the production would be filmed in Alaska.

I am one day going to be working openly in the motion picture industry. When that day comes, I swear to you that I will never sign a term contract with any major studio.

You get involved with a studio, and optional pictures and sequel options and that sort of thing are becoming part and parcel with the roles they're handing out.

That was the day I began cutting classes and returning to TV tapings; it ultimately led to a friendship with Johnny O, and an increasing fascination and respect for what he did.

Typically, when you sell your story rights to a movie production company, they can do whatever they want with it. The writer is typically not involved anymore.

That's the hard part of television: When you walk into the network tests, you're signing away seven years of your life.

When I left 'The Garry Moore Show,' I signed a 10-year contract with CBS.

I was in 'Goodwin Games,' which was canceled, and a few other things, so I kind of swore off television unless I was writing or producing it.

I've made six films for Disney, and they have a clause in their contracts called the morality clause that I've always refused to sign.

While I was working for the WWE in 2013 and 2014, TV deals had come to me, movie deals had come to me, sponsorship deals had come to me, and they were all turned down by WWE because they would involve me being taken away from their shows.

I didn't want to be on the road for 210-220 days per year. That was one of my first things when I started having conversations with Impact Wrestling.

I'll argue with the owners all day long when they do not allow the players to get the best.

Television offered me the opportunity to do new things; I had written a lot of scripts other than scary movies. I had actually written some romantic comedies and stuff that I really wanted to try my hand at, and nobody would let me do that. Television allowed me to do anything I wanted.

What's really amazing is that the showrunner who really got me my start in TV is Andrew Kreisberg. He brought me on to 'Arrow,' and he tracked me down because he was a fan of 'Punisher.'

You have to fight to get your show not only on the air but then to keep it what it is and make sure that it doesn't get manipulated into something else.

That is the difference from being a manager and being a player: As a player, if you sign a contract for four years, if you want to be there for four years, you are. But as a manager, it always depends on the sack. You are always under pressure.