Series Production Quotes

What's fun about doing a series is you get to take some time to create the character.

There's this funny thing with pilots that you have to sign the contract to do the whole job before you're even offered the part. And they make about a million pilots a year, but hardly any of them get turned into series.

The goal is not to just do 'Video Game High School' every year. We want to grow into a real content production company. We want to be Pixar or HBO. We want to make five series a year or 10 series a year.

Typically on a TV series, the writers on a show are writing for their life almost every episode. When someone sits down to write a Netflix show, they know there's going to be a 13th hour.

Doing a series of 'Facejacker' takes about nine months. It's pretty intense.

'Heirs' is really a good drama. Everyone put out their heart and soul into this series, from the actors to the whole staff. That's why I think we won awards for this drama.

With a series, keeping the quality high and writing incredibly fast, that's the first lesson you learn. You can't be real precious. When you're doing a feature film, you have 2 1/2 months; you sort of take your time. It's a different animal.

When they put out the sales brochure when we eventually went to series, they carefully rounded Spock's ears and made him look human so he wouldn't scare off potential advertisers.

I was producing a series about Sir Winston Churchill, about which I was extremely proud, and earning a lot of money as a producer.

When you think about 'The Simpsons' or 'King of the Hill' or something like that, the worlds tend to expand each episode, because there's no additional cost incurred to hire an animated character.

I did the pilot, and when they came through and said they were going to put it on the air, I had already some dates in the book with my band and so on. So Barry did the first one, he may have done a few more than the first one in the series, and I took it up from then.

In terms of the series, we worked separately, getting together in rehearsal to beat out the material.

I think of doing a series as very hard work. But then I've talked to coal miners, and that's really hard work.

If you go to pilot then you are probably going to go to series. That's my feeling about it.

I love when a director shows up with a lot of energy, and different ideas about how to change things and do it a different way. Once you get into series, sometimes you don't have that, so I certainly don't take that for granted when I get it.

We set out to capture what was happening, and then we cut that into the series.

I've never produced a series, so for me [X-men] was a wonderful challenge.

I did six series for the BBC and that was enough. I've been writing for ten years, which is more challenging artistically.

When you're doing a series like this, you're constantly looking for new ways to excite your audience.

Increasingly, there's much better material on television, but there's not always the time and money to make it, so you've got to make sure you make it in the right place. It also depends on time commitment; a lot of directors will make a pilot, but a series is just a whole other level of involvement.

When you start working on a series, it's almost too much work. It's like a movie a week.

Working in MTV's development team, my days would consist of pitches and deciding which concepts we wanted to buy. We would then develop those into a pilot. Very few ended up making it to a full series, but if they did, I would manage the project alongside the show's creators.

Doing a series, every week you work with a new star.

That was the good thing about having different directors [on series]. You had to stay on your toes.

On TV, it is more efficient to use voice-over people because it is really hard to get celebrity voices to recur in a series.