We shoot double episodes in 15 days in Los Angeles.
Plan for each episode to be a satisfying experience, but still leave the audience thinking, 'Oh, my God! Now what?
Every good historian is almost by definition a revisionist. He looks at the accepted view of a particular historic episode or period with a very critical eye.
The difference between directing film and directing television is so stark simply because TV is a living breathing organism already when you direct an episode.
I found myself Tivoing because I was working so much last season [of Heroes], I Tivoed all of the episodes so I could come back and watch them back to back to back and I found myself like I could not put my remote down. I was like, "Just one more episode, please."
That's the one thing I say about the great British shows. You know, I see it on the series on HBO where the season is shortened to like 12 or 6 or whatever it is. You know there's a reason why there's a quality behind that. Because I think the writers as well as the crew and the cast do get burnt out after doing continuous episodes after and over and it feels like a factory rather than something of a creative process. And we get tapped out. That's just my opinion.
I love Keri Russell. I watched every episode of Felicity, and Waitress is my favorite film from last year. She's just an amazing actress. And I like her voice a lot - it didn't surprise me that she would be doing voiceover work.
But actually my dad is a very talented director and not just his use of shots and camera, but he's very good with actors and he knows acting well. It's great to see him do that and be really good at it and he's been doing it for a while and he certainly knows how to make movies, and little movies I guess for a television show, and he's going to come back in November to direct a second episode, which I'm really excited about.
To me, every episode is like a song, and every season is like an album. There's that part of the day when you first get the idea and you say, "This could be really funny." And you sit down and you write it. There's just something that happens there that doesn't happen when you really give it a lot of time beforehand.
Oh my God the fantasies are my favorite thing that we do each episode by far. And the great thing now is that instead of one an episode sometimes we do as many as two. We did one in each of the mini-series. And so far - I mean I keep thinking I can't have another favorite and then they keep topping it.
What happened in the missile crisis in October 1962 has been prettified to make it look as if acts of courage and thoughtfulness abounded. The truth is that the whole episode was almost insane.
During episodes of unemployment I find it rewarding to sleep as much as possible-anything from twelve to fourteen hours a day is a good starting point. Sleep spares you humiliation and saves money at the same time: nothing to eat, nothing to buy, just lie back and dream your life away.
The great thing about television is that most things get resolved by the end of the episode. So I think a lot of people watch TV to see something of their real lives reflected on the screen, but also they're hoping for that happy ending.
The way history is currently taught in schools, jumping from Hitler to the Henrys, is like a nightmare vision of Star Wars, where you have episode four before you have episode one. The sense of going on a journey, of chronology and continuity, is incredibly important to the imagination.
One week, you can have a real heavy romance 'Chuck' episode, and the next week it can be some kind of murdery mystery. It's not like doing a procedural.
It's easy to leave people wanting more after the first episode, but it's hard to leave people wanting more after the 24th episode. And it's my job, more than anybody else's, to keep that in mind. One season, in TV terms, is nothing. You need to hit it for three or four seasons, and then you're doing well, in TV terms. Then, you've done your job.
I'm very grateful for work especially in film industry. It's highly competitive and there are a lot of people standing behind me jumping at the opportunity to only do one thing, like one movie or one TV show or one episode.
When you do children's TV or one episode [guest] stuff, you have to listen, which is also a great thing to learn. But you don't have individual input.
My dad was an actor, and my older sister is an actress, and so I very much remember thinking, "Well, of course I'll do that as well." But I never imagined myself as an actor who would be in films. I always only thought of myself being in a play or a musical and maybe the odd episode of [U.K. '80s TV drama] Casualty. My backup plan was to do something with children, to start a nursery school or work with underprivileged kids. And I still dream of maybe doing that in some way. I've always got children in my house, always.
I think it's amazing to have one writer write every episode of a series. It's very rare, I think. You get a voice that continues.
To do six to 10 episodes of high-quality writing, and then be able to go direct my own things, and do a movie, if it comes along, sure. I just want to act and do good work.
TV series, there's a lot of everybody talking to you and giving you input for the first couple episodes, and then they're on such a crazy schedule that you get another episode on a Monday, you have to have it done by Friday and it becomes very solitary work usually, TV shows.
Mockumentary formats are great for a couple of things. One of them is delivering the toughest part of any sitcom episode, what writers call "pipe" - the nuts and bolts of the story where you explain what's happening, the boring plot stuff.
I always try to look at the episode overall, and try to figure out where I can add something that's a little ironic or self-aware or light because I think that's what makes the show special.
God did His most magnificent work while Adam was asleep. This episode contains and important insight: When man rests, God works.
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