Crime shows are really popular, in general, but usually, at the end of every episode, you have to let go of the people that you've invested in and then, the next week, get somebody else.
I was in Nepal and I had watched Oprah Winfrey's show. I had no idea, as a kid in Nepal, who she was, but I remember watching an episode of hers about living your dreams.
In TV, kid roles are like this: You're either in a couple minutes of an episode playing somebody's kid, or you get in these procedurals where you're crying or you're playing a witness or you're playing a crazy person. Every once in a while you get a big guest star role, but there's a formula to those TV shows.
Every episode of 'True Blood' is like shooting a low budget feature.
Why should I ever get fed up talking about my father? He was a brilliant, colorful man who left us with thousands of memories. Most people remember his films, but I've got anecdotes and advice and episodes of real life tucked away inside my head.
I have a type of bipolar that swings up and down all day long. There are significant mood swings within a day, within a week, within a month. I go through at least four major episodes a year. That's really the definition of bipolar rapid cycle. But I have ultra-rapid, so I have tiny little episodes all day long.
Ten episodes goes by really quickly, especially when you've got a really tough shooting schedule of seven-day episodes.
Unless you're a directing producer of a television show, for the most part, the director comes in one week to direct and episode, and then leaves. I'd much rather produce television and occasionally direct an episode of a show I'm producing, then just come in as an outside director.
I landed the role of Bravo 5, the only female fighter pilot in 'Star Wars: Episode I - The Phantom Menace.' I did my bit and fired my guns, but I haven't a notion of which side I was on or who I was firing the guns at.
Sometimes in TV, it can get really stale, especially if you're doing these 23-episode years. It's a lot of work, and to put your family through that, on a location, is not always the greatest thing in the world.
I don't much care to watch myself. There are still probably 50 or 60 episodes of 'Frasier' that I have never seen.
I got to do a whole slew of TV movies playing the bad guy, including an episode of Smallville. That would never have happened if I hadn't done the Stand.
My favorite episode of Stargate? All of them! My favorite episode of Parker Lewis? All of them!
Obviously, it's not cable, it's streaming, but it's the same format. It's the same 10 episodes. It feels like cable as opposed to network.
But the thing is if you've got an hour to sit down in front of a television, then the likelihood is that you've probably got two hours. So why wouldn't you, if you're enjoying it not want to watch the other one? And so, this is the future. Ten episodes at once is what everyone wants, and then it's up to you how you spread those out
Mads has a terrifying subtlety and as the episodes go on, you start seeing the way a person can command other people by doing practically nothing and terrifying the sh*t out of you. He is the most astonishingly subtle performer with the most incredibly keen sense of what his face can do and how his words can form. He has a mission. Nothing is by chance. I truly believe as long as we have success in seasons that Mads will become the defining face of Hannibal Lecter.
Most fight sequences on a television show, probably any action adventure show that you know of, if you asked them how long they probably spend, [it's] one or two days doing the fight. Where we were spending eight days concurrently with an episode doing our fight sequences.
Being on Twitter, live tweeting some of the episodes, I get direct feedback from people.
In some subsequent episodes, certain individuals have certain knowledge of certain events that they wouldn't have, if they didn't have access to the future.
I love when people are resilient and when they form ways of dealing with grief or dealing with some traumatic episode, and sometimes those are the wrong choices.
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.
Love interest nearly always weakens a mystery because it introduces a type of suspense that is antagonistic to the detective's struggle to solve the problem. It stacks the cards, and in nine cases out of ten, it eliminates at least two useful suspects. The only effective love interest is that which creates a personal hazard for the detective - but which, at the same time, you instinctively feel to be a mere episode. A really good detective never gets married.
Those rosy memories we all share are actually memories from our favorite TV shows. We've confused our own childhoods with episodes of "Ozzie and Harriet," "Father Knows Best," and "The Brady Bunch." In real life, Ozzie had a very visible mistress for years, Bud and Kitten on "Father Knows Best" grew up to become major druggies, and Mom on "The Brady Bunch" dated her fifteen-year-old fictional son.
Any rapidly enacted episode. . .should be seen through only one pair of eyes.
There's really no way of ever knowing how the audience is going to respond to any episode or change.
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