Marc Cherry Quotes

As an actor, I'm rather hit and miss; I throw a lot out there, and some of it works and some of it doesn't.

At our best, it's a good experience but we do 22 episodes a year, so there are some clunkers.

I'll always love movies. But there's something I love very much about TV, when you shoot episodes while other episodes are still being written.

No one ever sets out to make a bad movie. There's almost always incredible amount of passion and work put behind any given project. You just have to give it everything you got, and sometimes it works out, and a lot of the times it doesn't.

I had no idea if 'No Roots' was going to work or not.

In all honesty, I've written movies that have been made, and the process has not been as satisfying as writing for television.

To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'

The first time with artistic endeavors is, if it's working, it was your idea, and if it's not, it's somebody else's idea.

Part of the elasticity that you need, in order to continue to try to create, is the foregone conclusion that not all of it is going to be fabulously successful. But it's all going to be part of a long lifetime body of experimentation.

Rodgers & Hart had a few flops before they clicked. You know, it happens. I don't know anyone who always gets away with everything.

Sometimes it works, sometimes it fails, but that's what we face when we're dealing with improvisation.

When you're working on a play like 'Sloane,' that play works; you don't have to worry about that. When you're working on a new play like 'Little Dog,' you have no clue if the play works. You're exploring.

Creative experimentation propels our culture forward. That our stories of innovation tend to glorify the breakthroughs and edit out all the experimental mistakes doesn't mean that mistakes play a trivial role. As any artist or scientist knows, without some protected, even sacred space for mistakes, innovation would cease.

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

I work hard at that, but the fact that there are a lot of good songs means there are also a lot of really bad songs I've written that you never hear.

It might be a huge hit, it might not; but you learn something doing it.

All I can do is try to create the best show possible, and I feel we've truly done that.

You can't predict a show, that is the damndest thing, you can't predict if a show is going to work or not until it's on the air.

You know, making a movie is a collaborative effort and sometimes all the ingredients don't work out. I know that every now and again I am going to make a movie that won't work.

You never know when you put out an album that's unique whether it'll get beat up for it or not.

Lots of comics try stuff out all year round, which is very sensible - I don't.

I've learned that you can never predict what will happen to a film. You can never predict if people will love it, if they'll hate it. It's an act of ego if you're hoping for everyone to love the film and tell you how great you are.

You know, I've released some great records and I've released some dogs. But frankly, the fun is in creating the thing.

I like to do a movie, to be on it 8, 10 weeks. It evolves as you're working on it. Little things come to you every day. It's a slow process, and when you have to pack it into a short period of time, which you do for television, the experience is not one that I cherish. So if it's going to be television, it's really got to be the right thing.

Mistakes and dead-ends often mean more to these artists than any proven problem.