Rachel Dratch Quotes

Now that I know what goes into making a pilot, keeping it on the air, and keeping your fans, I'm at a point now where I do a pilot and just hope for the best. If it doesn't work out, it doesn't work out.

The first season of a show's always a rollercoaster because nobody knows what they're doing. You gotta rush through the season trying to figure out: What is this show? And who are these characters?

The whole thing of doing a TV series, I find it very daunting not knowing where the story's going.

I never know as a writer when I set out into a novel where it's going to take me.

The thing is, you never know with any movie how it's going to turn out. It's always a mystery - you'll do pages and pages of scenes that will never make it onto the screen.

I never know, when I start writing a story, what's going to happen, or how it will all get sorted out.

I know 'Dabangg' has some pre-requisites. Every film has some requisites that you have to fulfill. I sat down with my writer and discussed what as an audience I want to see in the second part of the film. We worked towards that and we hope what we thought connects with the audience.

When I started the 'Broken Empire' trilogy, I thought it was a short story, and I didn't know the beginning, middle, or end of even that.

Before you start production, you have characters you have created without actors in mind, then all of a sudden you've got actors. They bring an enormous amount in creating these characters, and creating the dynamics between the characters that you've written.

Every day, I learn something new. I think one of the most exciting things for a writer is to work on a TV show. It's like a novel. You have a really long time to develop and learn about the characters, and you can just really keep digging in deeper, every week.

I don't know much about writing a show or being a show-runner on a show, but I can only imagine that when you first cast a show and you first do a pilot, there are so many components that you're throwing into the mix and you're not sure how they're going to develop.

I tend not to know what the plot is or the story is or even the theme. Those things come later, for me.

When I start writing a novel, I have no sense of direction, no idea, really nothing.

The strangest thing about writing a sitcom, is never knowing if it will become anything but words on a page.

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

Sometimes they keep us in the dark, but it's TV, so sometimes they keep us in the dark because even they don't know yet. You know what I mean? So, it sort of develops as it goes along and according to various needs that arise.

I write scripts to serve as skeletons awaiting the flesh and sinew of images.

Normally I start with a plot, and write a synopsis, and the ideas come from the construction.

Usually when you're doing a season one, you're trying to find the show.

When I storyboard, they're just fragments of thoughts. I write in three acts like a movie, so I have my plot points up on the preliminary storyboard.

Matthew Wiener on 'Mad Men' writes the entire series before they start shooting, and if you have that, then what you can do with character and story is not at all unlike what you can do in a novel.

You're thinking about the physical consequences about what you're writing if you're going to direct it. If you're not going to direct it, then it's somebody else's problem, and they'll solve it.

When you make a pilot, you've never seen the show before; you don't know what it is.

I think audiences can feel when they're being served a filler episode.

When I was doing 'Baahubali 2,' the story was being discussed with many people. The story evolved over 9-10 months in that way.