Production Limitations Quotes

More than often, what you see, or what we've been able to recreate, has usually been a tampered-with version of what I have in my head, because the original idea has always been bigger. Every time I am in the mode of creating a show, there's always some level of gravity that comes in play, either of a monetary sort, or there's a space issue.

That's the thing about making a movie: You never finish editing. They just take it away from you.

It sounds to me like the OLED iPhone is a phone which Apple can't make 40 million of per quarter, at least not today. And if that's true, that means it should be more expensive. Not 'should' in any moral sense, but simply because that's how the principle of supply and demand works.

With an animated show you can make a banana purple. You can put three hats on a cowboy. That would require several days of stitching, in live-action, that you wouldn't be able to afford. I mean, you can just do tons and tons and tons.

My knock with filmmaking is the whole bureaucracy around it, so in some ways, staying outside of it is easier for me.

'Wings' was a blessing, but it was also very difficult. Whenever you do situation comedy, no matter how excellent the execution - and we had a great cast and great writers - but the format is somewhat limited.

The ideas keep going, you have the material, you cut because there's a limit to the space allowed to you. And the space is limited because of some other constraints that have to do with money or printing or whatever.

You can't make two films at the same time.

I feel like I'm still learning a lot. I think there's a tendency for people who are just doing their first couple of films that I see now where they seem to be really resentful of the technical limitations that come along with filmmaking.

You only produce one car less than the demand for the vehicle. You just don't exceed that equation.

Every product you have ever loved was a compromise from the ideal vision of its creators to the realities of shipping on time, on budget, and on price point. Anyone who has ever manufactured a physical product that had to be on the shelves for Christmas shopping knows how painful these choices can be.

In that sense, film is superior, but the difficulty is your lack of control as a writer.

One of the things that's, I think, hard in television is that there's a certain sameness to a lot of television because you're working in a very constricted box, and the box is defined by the amount of money you have to spend and the amount of time you have to get ready.

We had a tiny budget for 'The Greatest,' which was the opposite of 'Wall Street.' We just kind of went in and did it. You've got four or five takes and then you've got to move on. We didn't even have trailers to stay in or anything.

With 'The Crazies,' we had a lot of room to play and manipulate and change things. When you get something bigger, you have less control in that sense unless you're one of the three stars.

A studio that's designed to make television shows is not a studio designed to make a fashion line, so a lot of times, we have ideas for things we might want to do but don't necessarily have the infrastructure to do them in a timely manner.

The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.

In a TV show, you are restricted to a lot of things. On television, you can't put the content you can put on web series and on the channels digitally.

Whenever you're doing film for television and you look at the budget that you have, which is much more constricted than a movie budget, you think, "God, are they going to be able to do what they say they are?"

I had written in another draft a completely different kind of fight, but they said they couldn't afford to shoot it. They needed a fight scene, though, so I was told to put a fight scene in, but not the one I had written.

Each production has certain circumstances that will bring you to a certain way of making it. It is not intentional, it is not an artistic decision, the way we make films, it is the way we address to our problems.

There's so often - in filmmaking, you're backed into something that already has these set parameters, whether it's a sequel or a book that people love.

There are stories you can tell on TV that can't be told in movies anymore.