Network Support Quotes

My first job with a network was 'General Hospital,' and that was ABC. I feel like I have so much history with them, that they treat their shows well and they have good, discerning taste.

I'd love to do more 'Nighty Night,' but that's always down to commissions, really. It's weird as well because everyone's moved on. I don't know if I could get all those people back.

I'm doing another pilot about a black Democratic pundit who's married to a white Republican pundit. And the purpose of me wanting to do that show - and ABC sort of supported me in the way they did - is because I feel like, you know, the political system is like an old married couple.

We think of the Techstars product as not really the accelerator but the network. That's what entrepreneurs should be valuing here. I think it's the most undervalued thing that many entrepreneurs don't get.

Fox doesn't treat me any differently, and that's one thing I'm very lucky with - my network treats me like a woman, but they never make me feel like I don't fit in or anything like that, which is great. But within the industry, yeah. It's a double standard, but it's something that you have to deal with or try to make better; turn into a positive.

NBC gives comedies a chance to find their legs.

I firmly believe, only because I've been doing this for so long, every show takes three years. 90% of them don't get three years. It just does. It takes a long time to build a community, build a friendship with your characters. It's hard for people to grasp on and make them care about you.

When a woman on your team or in your network comes up with an idea, make sure she gets credit for it.

I came to NBC on 'Friday Night Lights' and they have supported that show and found ways - unprecedented ways - to keep it on the air for a long time. And when I came to them with the idea of doing 'Parenthood,' they not only supported me in doing it but also got behind it in such a way that we were able to put together this incredible cast.

NBC sort of let me do my thing. They never told me what to say and what not to say. It was pretty weird.

When they don't have your back on a show, it's the worst feeling ever. That energy trickles down to the cast and crew. You can feel when it's not gonna be a winner. But when you have the support of the network and the studio, it's a really good feeling.

I knew from the first episode that 'Longmire' was something special - I met the writers/exec producers, read the script, and knew it was special, so to have the network and the studio and the fans get behind it in the way that they have has been really amazing.

I just want a big HBO special or a network or somebody willing to get behind my work and promote it. The most frustrating thing for me is to have this successful act that resonates across the country, and the network guys just don't get it. Everyone sees it except them. I want to leave a mark.

HBO does something that most networks don't do which is give a show a chance to find their voice.

You can have the best product, but if you don't have a plan - a label pushing it, the support of a network - you can't make it big with a product. It's all about distribution.

Networks like Adult Swim allow artists to be artists and allow their vision to come through without a lot of tinkering. I worked on 'Moral Orel' and 'Mary Shelley's Frankenhole,' and they bothered us very little. They very, very seldom came to us and said 'Change this,' or 'You can't do that,' or 'We'd like to see this.'

Hosting a TV show is a full-time job in which success is defined by it never ending.

Anytime you're lucky enough to be on something that lasts longer than half a season, you never quite know what kind of life the show is gonna take on.

I'm always game for everything. What people don't understand is that the networks are who you have to get to take a chance on you. I wanna do it all. The trick is convincing a network to do it with you.

I feel incredibly passionate about 'Bunheads,' but the network was not supportive of the show, and you have to have that.

Network's rating dependent. A show might not stick. A lot's timing. Like, my Bradley Cooper in 'Kitchen Confidential' didn't always work. Cable supports young shows. TV Land, which you can find on Hulu, Amazon, iTunes, wanted 'Younger.' They came to me.

There are some great shows that come and go really fast, either because the network doesn't give them a chance or they just don't grab on to the psyche of the country quickly enough.

Working on 'NYPD Blue' and '24', those two series, I did full runs on those. It's great work, but everything has to align. The producers have to want you; the network has to want you; there has to be great writing; and it's not as easy as it may appear to the outsiders to make all those things align.

Working on 'SNL,' you can have a really stressful experience or a really bad week, and I could see how much of a nightmare that could be for someone who doesn't have a network of buddies going through that with them.

The only reason to do a television series is to make it successful. And if it is successful, that's a six or seven year commitment.