Tanya Saracho Quotes

When I did 'Scrubs', we were able to always do one as scripted, and then we got to play a little bit and do some stuff. I thought that was pretty loose, but then coming on 'Happy Endings,' it's even looser.

I think there's a lot of interesting stuff on TV. I feel much more optimistic about TV than I do about movies. There will always be good movies but I think, for the most part, it's always going to be a huge fight to get those movies made. TV is the best place to be as a writer, I think.

Typically on a TV series, the writers on a show are writing for their life almost every episode. When someone sits down to write a Netflix show, they know there's going to be a 13th hour.

Writing a TV show is totally different than writing features, or just, what I started doing is writing features. You write a little bit more organically. You start from the beginning to the end, beginning, middle and end.

I did 'Red Riding,' which is TV in the U.K. It became a feature project in North America, but we're in a great era of TV. We all know that, and we hear it all the time, but for filmmakers, it's just a godsend to have your television writing and work to do on television, and the means to do it properly.

I have a pretty big TV background, and I have clocked so many hours in so many writers' rooms over the years.

Something that bothered people about 'Dawson's Creek' but as a writer, I kind of dug: writing those kids as though they were college grad students. It was fun and liberating and made for a true sort of writer's show. It was a fun year for me, because I got to get out of debt with my first TV job, and I learned a ton.

'The Wire,' I was such a fan of that show the first season - I think that's the best-written show on TV.

I like to write scenes in the middle of the night. We could change every word of 'Family Ties' between Monday and Friday.

'Arrested Development' is great; Mitch Hurwitz is great. Plus, it's the one show I've ever had where, on the small parts, he just let me cast people.

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.

When I create a TV show, it's so that I can write it. I'm not an empire builder; my writing staff is usually a combination of two kinds of people - experts in the world the show is set in, and young writers who will not be unhappy if they're not writing scripts.

With film, there's a consistency to it, but what I like about the TV shows that I've been fortunate to do, like 'Friday Night Lights' and 'True Blood,' is that it feels like you're doing a film.

I wrote for 'The Sopranos' and worked on big, blustery characters for quite a while.

In the world of book writing, there's a few people, maybe, where you have close relationships. In TV, there are so many more relationships, and they're all so critical.

I've done a lot of work in Hollywood and theatre, but to be honest, the biggest pleasure I've ever got is from the TV single plays I've written. It's a format where you don't mind saying, 'I want to tackle some important themes head on.'

There are times where we are shooting a TV show, and it goes very fast. But everybody has this freedom to still be artists.

I learned how to write TV by writing 'Grey's Anatomy.'

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

I'm pursuing film and TV, and it's exciting because I feel I can write in almost any genre now.

I wrote for 'King of the Hill' for three seasons.

The stage gives you more control over your own work; in television, there's a distressing amount of communal writing. Unless it's your show, you have no control over that. You're at the mercy of whoever's running the show.

To have the canvas of something like an Impact Wrestling, something that had TV and be able to be a creative input guy and come up with stuff, I would love to, and I would be up for that challenge.

When I was a staff writer on 'NYPD Blue,' it was truly my job to hear David Milch's voice for that show and to deliver episodes that embodied that voice.

I wrote on the fourth season of 'Arrested Development.'