TV Show Production Quotes

We shot 'Breaking Bad' on film; we capture 'Better Call Saul' digitally. In the shooting of 'Breaking Bad,' we would have this steady, handheld, cinema verite sort of look, so we purposely went the opposite way with 'Better Call Saul' - locked in the cameras and made the movements smoother and more mechanical.

Doing TV shows helps me a lot in my screenplay writing and filmmaking, especially since my TV shows are in different formats: comedy sketches, talk shows, debate programs, art variety shows, quiz shows. These enable me to meet interesting people with interesting stories and to learn about interesting subjects, all of which I can reflect into film.

I have been very, very fortunate on this show, on 'Suits,' where the writers do come to me, and they ask my comfort level and, if they want to push an envelope in a certain direction, if I'm okay with that. And, by and large, I am. I think it's important.

I loved the show Lost, in part because the writers were so nimble in how they would take things from previous episodes, that probably weren't created with any intent towards a larger narrative, and they would get woven into narratives in a really elegant and exciting way.

When you set out to do a show about a sponge, you can't anticipate this kind of craze. We just try to make ourselves laugh, then ask ourselves if it's appropriate for children.

I think Rick Berman just called me and asked me if I wanted to do the show [Star Trek: Enterprise], and he said they'd write an arc if I'd do it.

It's a 12-hour cooking class for me on the set of 'Chopped.' You'd think I'd get sick of it, but it's a source of endless interest to me. The only thing I don't like about it is it's a long day and my feet hurt. Otherwise, I love it.

The crew and cast at Castle becomes more of a reality than the people I've known all my life

I love going to work, doing acting. I love when I'm done with a movie or a TV show. I love hitting the road or being in the studio or going on tour. That's what I get off on. I don't need to have my business in the press and all that stuff. I'm pretty low key. It's all about the work for me.

I was just in a few episodes the first season [ of Empire]. They didn't kill me, but I haven't been back in season two or three. I don't know if they have plans for me or not. But I enjoyed working on it. And I think it's a really talented group of actors and, boy, very enterprising to try and shoot those every week, you know, with musical numbers and all that stuff.

Nothing's hipper than leaving the set of 'Girls' in Brooklyn and having a teamster drop you off at your Broadway show.

I rarely watch TV, and in the past two years, I've done three TV shows. It's quite interesting.

Truthfully, the process of making 22 episodes of television a year is not very pleasant.

The headmistress was a very well-respected theater teacher. She taught me what stage left and stage right were, what a director was, and what all these things meant, which was something I had no concept of. She sent me off to drama school, at age 18, and I stayed there for three years. Before I knew it, I was working on a TV show.

I watched Master Class with Lorne Michaels on OWN. How can somebody produce a sketch show and talk for an hour and not say something even slightly amusing, or sarcastic, or ironic, or interesting, or informative? 'My mission as a producer is to encourage creativity.' Mission accomplished.

The only other series I worked on a regular basis was Benson, and that was a sitcom, so there really wasn't a chance to go deeply into the characters.

We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it's all post-production animation after that.

We may not have a sample size larger than one, or we may not have unlimited resources - it's a TV show, and we generally turn these things around in about a week or so.

'Sex and the City' didn't change the show because it was an international sensation. They kept it in New York.

I was working with Peter Tolan, who was my writing partner on those two [Rescue Me and The Job], and he did The Larry Sanders Show with Garry Shandling, and he always said that the second season is better because you know the actors.

TV show's really quick. You're in, you're out. A film usually takes a lot longer. However, a voiceover is very much like TV in the sense that it's really quick. For example, I did the movie Planes in one day.

I think back to having had the good fortune of being at Warner Bros. when we were doing 'Lois & Clark.' The chemistry between Dean Cain and Teri Hatcher was really wonderful.

We have a full writers' room, and with something like 'MyMusic,' we've scripted it out with professional writers. There is some very basic improv from the actors, but everything is very to the letter, so it's easy to edit down to an episode. There are fun little things an actor might throw in there.

Usually with something like 'The 100,' because you're working so much and every day, and they'll change the drafts quite quickly, we'll go through maybe, like, 12 different versions of the same scene over a week. So there is no point in learning it on a Tuesday when on a Thursday it might be completely different.

As it turns out, one of the biggest choices we have doing the show is deciding the tangents we are allowed to take, the stuff that we see along the way. We're allowed to explore the world at large on these things; the urban-legend aspect of it is just kind of an excuse.