I'd love to star in a television series of my own. I love the idea of living with a character for a number of years, watching him grow.
When you're on a series, it's tough to go on and do something else afterward. If you're smart, save your money and you can wait out the bad times, until something else comes along.
I'm trying to find a character that's my age and I can sustain week after week. I'd like to do a series.
The writing day can be, in some ways, too short, but it's actually a long series of hours, for months at a time, and there is a stillness there.
I never thought in a million years that I would do a weekly series.
I was deliciously happy filming True Blood. I even kept all the scripts in my office, which I never do with any script. Although I did shred them all in one go when the series finished; it seemed like a ritual, somehow.
In this age of vampires, what I love about 'True Blood' the most is that it's a post-modern take on it. 'Sookie Stackhouse' series author Charlaine Harris and 'True Blood' creator Alan Ball turned that whole mythology upside-down... It's not just about vampires. It's about a lot of different things.
The office is a romantic enabler because you're always around the person you have a crush on. There's no escape from, and maybe no desire to escape from, those pressure-cooker conditions. And there's an automatic series of things you have to talk about all the time.
The World Series is played in my doubtless too-nostalgic imagination in some kind of autumn afternoon light, and seeing it exclusively in the bitter chill of midnight breaks the spell of even the best of games.
After doing 'Firefly' and moving on, I always wanted to be part of a series again. I love doing films, too, but there's just something special about being part of the team and feeling like you're actually a part of the family, and I always look to re-create that.
Even someone as lowly as an assistant U.S. attorney has to undergo a background check, and you're asked a series of very invasive questions, and you're expected to tell the truth and they're under penalty of perjury. And you're asked those questions so you can't be blackmailed or extorted.
In a series, you really need to stay open-minded. It's not like a play or a film, where you can create and fully commit to your character's back-story.
I believe the most intricate plot won't matter much to readers if they don't care about the characters, especially in a series. So I try to focus hard on making each character, whether villain or hero, have an interesting flaw that readers can relate to.
I actually have a young readers' series that I wanna do, kind of in the same lane as a Harry Potter or Narnia or Twilight. I want to write stuff like that.
A long-running TV series is a beast in that it demands you stick to one character over a long haul.
I don't watch the beginnings of many series, I don't know why, maybe because I'm normally working.
Iwas not a reader at all, not until I discovered 'The Hobbit.' That changed my life. It gave me the courage to read. It led me to the 'Lord of the Rings' series. And once I'd read that, I knew I could read anything because I had just read thousands of pages.
You know, it's scary when you sign onto a pilot of a series because, as much as you want the series to go, you also want it to be a character that you'd be interested in playing for a long time.
When you finish a series like 'Ugly Betty,' there are so many voices around you telling you what you should be doing next and what would be good for your future, sometimes you can't hear yourself. I've gotten pretty good at tuning everyone else out. Now it's just me; what pleases me creatively.
I first heard the term "meta-novel" at a writer's conference in Tulsa, Oklahoma. The idea is that even though each book in a series stands alone, when read collectively they form one big ongoing novel about the main character. Each book represents its own arc: in book one of the series we meet the character and establish a meta-goal that will carry him through further books, in book two that meta-goal is tested, in book three - you get the picture.
The divergent series are the invention of the devil, and it is a shame to base on them any demonstration whatsoever. By using them, one may draw any conclusion he pleases and that is why these series have produced so many fallacies and so many paradoxes.
I know from experience that nobody can give me a tip or a series of tips that will make more money for me than my own judgment.
[About the demand of the Board of Regents of the University of California that professors sign non-Communist loyalty oaths or lose their jobs within 65 days.] No conceivable damage to the university at the hands of hypothetical Communists among us could possibly have equaled the damage resulting from the unrest, ill-will and suspicion engendered by this series of events.
Modern science gives lectures on botany, to show there is no such thing as a flower; on humanity, to show there is no such thing as a man; and on theology, to show there is no such thing as a God. No such thing as a man, but only a mechanism, No such thing as a God, but only a series of forces.
All of these are names given me by other people, but not names I would have given myself. My name is not mine, it's theirs. It's a series of costumes put on my life by other people.
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