Ronald D. Moore Quotes

In the TV world, we are seeing a lot more power going to the writer. I sense it is a writer's medium.

I was running the show on 'United States of Tara' and 'How To Make It In America' where I could say, 'Okay, I'm in charge of everything now.' But it still wasn't my show.

Writing for television is completely different from movie scriptwriting. A movie is all about the director's vision, but television is a writer's medium.

As a showrunner, you can never be a 'maybe.' When I do movies, there is a lot of, 'Maybe' and, 'Let's investigate that.' But for TV, it has to be yes or no.

I don't think of myself as a producer. In television, it's part of the business - if you progress and become successful as a writer, you're called a writer-producer. What that means is that you have a lot of say in casting and behind-the-scenes stuff. But I'm just a writer.

American television is very much created by the writers, just the volume of it. The writers are so key. You're just trying to do something that serves that script. And in general, film isn't all about the script, really.

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.

I feel terrible for directors of TV because all the episodes have to look the same. They make a great series for five or six years, and then when it's canceled, they can't break out on their own.

When I'm directing or producing, I like to do different kinds of stories. But you have to know what you really like, and when you do, you have to front your position.

I'm very excited to see where the characters and their relationships go. But in the end, it really boils down to the people who have more power than me, who control the money.

I have an amazing team; I have amazing producers; I have amazing writers, but at the end of it, it's me making the decisions on the writing, the tone, the editing.

If I was going to do anything, I'd be a producer, only because I'd like to have a say in what gets made and what doesn't.

TV is a writer's medium.

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.

The idea of being a show runner was very attractive to me, to create and control something.

The producer is at the center of entertainment. The producer is being forgotten, and producers must seize the center of activity.

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.

I would like to have a managerial career as a director.

I essentially have always directed everything on my TV show without using that title; I edited and wrote all my stuff.

When I first found out what a show runner was, I thought it was the strangest job I had heard of in my life.

I've been in various roles in TV - writer, producer, associate director.

That was mandatory in the contract with Aaron Spelling, that if you were contracted to do one of his shows, you had to do any other shows that were his.

When you work in a writers room for a showrunner, you serve that story, and you serve that showrunner. I don't think it should be called writing; I think it should be called rendering content. Because you are there to render the content that is agreed upon in the room, and you're serving the voice of the main storyteller, which is the showrunner.

On 'Mr. Robot,' because I run the writers' room and know every decision behind every line of dialogue, I'm able to be nimble and adapt with the scripts and the moments. I never have to question what I'm doing as I'm directing the actors or going through the scenes.