Format Change Quotes

People start panicking because they think it's the end of everything. But the fact is, you know, books survived movies; books survived TV. Books are surviving manga and anime. Books will always be there in one form or another. You just have a larger palette of entertainment options.

Learning how to use different formats has made me a better photographer. When I started working in medium format, it made me a better 35 mm photographer. When I started working in 4x5, it made me a better medium-format photographer.

In the 1960s, people were trying to get away from the pop song format. Tracks were getting longer, or much, much shorter.

At first the difference will be in whatever atmosphere I bring into it. It's not going to be like, 'I really want to do The Daily Show and I'd love to turn it into an abstract musical.' I like the format and the chance to satirize the news.

It's kind of hard coming from 'Saturday Night Live,' which is a sketch-driven show, to a movie.

Sometimes we get bored and want to shake up our format. It's a luxury we have on public access - no one cares about us. It literally doesn't matter if we fail, so sometimes we try to go really big and out of the box.

I hope that books don't go the way of albums and CD, large format albums, and physical product.

We feel like we're kind of movie guys working in TV. So we're looking forward to that day when we get to work in that medium.

The whole format of entertainment that I did seems to be fading away. The music business of today is completely different when you see the videos and the music.

Honestly, the essence of publishing hasn't changed. Since the days of the cave man carving stuff on the cave walls, people have wanted stories, and storytellers have wanted an audience. That is still the case. The changes are really a matter of format.

Once Johnny Cash and Waylon Jennings are not cool on country radio, it's time for a new format.

For me personally, I was just worried that transitioning from a podcast, which is a very intimate sort of experience - people tell me they listen to my podcast while they're at the gym or on road trips, so you're in someone's ear - to being on television - that's a lot of space to fill.

The Davis Cup should be home and away from the semi-finals as a minimum, I would say even the quarters.

Once you reach a certain age with radio stations, you've got to be an oldie but a goodie. If you wanna do something new, you've got to find a new way to present it to people.

We're shaking up a format, which I think is always a good thing. The thing about [2011 Oscar hosts] James [Franco] and Anne [Hathaway] is, they've both hosted Saturday Night Live, and they both did a good job at it. So they are accustomed to working with short rehearsal time, and live, lots of pressure, rewrites, things like that. They can make quick changes, which is very advantageous, and they're skilled comedians.

And that format was - we'd been using that format, I guess, since the late '70s, and it was starting to get very predictable. In other words, certain songs would surface in the same points in the set every so often; it was like rotation.

Country radio went through a time where they were trying to pigeonhole everybody, and trying to make the gap really narrow, and I think that they've opened that up a little bit.

Ten years ago, TV cookery shows were about a man or a woman following recipes. Now, it's all about journeys and campaigns and less about the actual chopping and dicing. That's what I'd like to do with magic.

We wrote 'Olive Kitteridge' as six hours, and they asked us to make it in four.

With vinyl you had twenty-two minutes per side. CDs came along, and you had sixty, seventy, eighty minutes and people felt like they had to fill them up. They were like those Fuji apples from Japan. They look like perfect, super-gigantic versions of American apples.

I'd like to do a show that's not a sitcom.

I'm not going to be the guy who sold the last CD.

Today's 'Sesame Street' will NOT be brought to you by the number 34 or the letter D.

[on making the transition from the comedy "Mary Tyler Moore" (1970) to its dramatic spin-off series "Lou Grant" (1977)] We were really worried about changing over from a three-camera, half-hour comedy to a one-camera, full-hour drama. The audience wasn't ready for the switch - even CBS billed us in their promos as a comedy. In fact, the whole thing was impossible. But we didn't know that.

Formats are going to change because this is what the people want. It's not what the labels want.