Show Evolution Quotes

The ability of a television series to make adjustments is something you've got to take advantage of.

I didn't get into acting to be a public service announcer or an advocate and yet, by virtue of this show and how we handle the subject matter that we've been given, that's kind of how it's evolved in certain ways.

Neither of us were experienced hosts on television. But the show seemd to moved in the direction of our characters, the way we approached things. It evolved around us and the things we think are interesting.

Dr. Larry and Viki are the only original characters left on the show.

It's quite common for a television show to start off as one thing and end up as something completely different. There are so many cooks in the kitchen - the network, the studio.

My show is constantly evolving... new tricks are added, old ones are dropped... so it stays fresh. But it's the randomly selected participants from the audience that make it fresh and provide some of the best comic relief.

If you take 'Cheers' and 'Seinfeld' and watch the early shows, they're kind of awkward. It took a while for the writers and everything to gel.

There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.

Some people, they're seeking elsewhere, looking elsewhere. I love WWE, but this is the type of wrestling that I grew up on. And every week, it's bigger and bigger. And these shows are just getting more and more special.

I feel that, for each show I've been doing, there's a character that dominates. Then in the next show it plays a smaller part, and then in the next it has a sort of cameo piece. So they all have their moment.

People started bringing their own personal work to 'Nightgowns,' and that's really when it started to become a really distinctive show.

When I read the script for '90210,' I thought, 'Boy, this is very superficial,' and it was. I mean, the pilot was all about the glitz and the glamour of Beverly Hills, the obnoxious kids, and the fish-out-of-water story of Brenda and Brandon Walsh. I couldn't discern from that first script that the show would become very issue-oriented.

'Liv and Maddie' didn't start out as a twin show. I actually played a different character in the beginning, and it was neither of the twins.

It's been a fascinating thing because we didn't really know how to write when we started South Park at all. It's been like, we've just sort of grown up a bit and it's amazing to just see how, if you take Butters and Cartman and put them in any scene, it works.

And that's what happened to that show. It started ordinary, it started really rather bad. As I said, there was a review that said, really, we think the commercials are better than the show. And then it gradually developed.

Every so often, it's time to make a change with a showrunner; you evaluate the creative and how the show is run, how the writing staff works.

By the time I left ESPN in 2003, 'SportsCenter' had become a far different show than the one I initially joined in 1996.

24 isn't like other shows, where you set the look once and you're done. The show started at midnight, then moved to a pre-dawn look, and now we're at dawn and we're warming up the day.

My experience in TV is that it takes time for shows to find their way.

The 'Homecoming King' show started off as a storytelling show that I had done; I worked with Greg Walloch to develop it and build it into something bigger.

The challenge with all television - all series television as you get into later seasons to give people what they have come to, what they've become familiar with and what the qualities of the shows that they recognize without letting it get staled.

We're really fleshing out the whole world of the show [Difficult People]. It's more of an ensemble now, whereas last season we were very focused on establishing the Billy/Julie friendship. Now that that's been established, we don't question that they love each other and what the show's about. So we can meander outside of that.

'The X-Files,' as I recall, we didn't know really what we were until the middle of the first year. You know, so if we'd been cancelled, you get cancelled before you mature into what it is you can actually be, which is too bad.

Every show finds its groove, I would say. The first season is the season to figure out the dynamics, the workflow.

Whenever I did sitcoms, that always happened on your show. Once the show was on the air, it takes on a life of its own. It develops, and it becomes something else.