TV is very much my first love. I love this world. It's where writers have the most creative control, and I just love that.
When you're writing for a TV show, what's great is that you always know what actor you're writing to.
I think a reason why TV is exciting and getting so much better is because we [authors] get to play off of an actor's strengths and challenge them on their weaknesses. On a feature [film], you don't necessarily get to do that. You hope that they cast the right guy, who comes in and plays your part.
I'm a character-driven director, and I tend to fall in love with the characters in my movies and TV shows.
I don't really watch anything on TV. It's not really a priority for me.
My wife says I'm much happier when I'm not a regular on a TV show.
I am very careful not to wantonly encourage people to join my industry, or to aspire to work in TV. I am certain that, generally speaking, the wage pressure in the television news industry is downward.
I don't know a lot of guys who started out as a hard rock and roller with a white stripe in their hair. Suddenly I do a TV movie and I wake up the next day and I'm a teen idol, like I'd laid on a beach in California all my life waiting for that to happen.
Storytelling is all about using the imagination, for me at least it is. That's why I'm bored sometimes to see movies. I'm bored to see TV. I never see TV. I see news sometimes. I'm sorry to say, I work in this business and I love working in it, but I haven't seen a movie in so many years.
TV and film for me are not as exciting as the live stand-up show and getting the immediate reaction of the crowd. TV is a lot of hurry up and wait for your shot and less immediate reaction from people.
I give [Barack Obama] a 10 [on a scale of 1 to 10] because he's not God, and he inherited a couple of wars, and a financial mess.I want to see him curse somebody out on TV. You can't finesse a bull. He's gotta throw down. He's in the shark tank.
I never really watched the TV series.
Whatever is being investigated, created or produced now, in movies or TV, needs to consider the context in which it is being distributed. It's not a vacuum. There are certain universal themes of love, conflict, loyalty or family that are everlasting and that need to be presented in a way that makes it feel relevant, even if it's a period piece. You need to consider what context that film, that story and those characters are being seen in.
In my opinion, visual effects are great when it compliments a good story, and action is great when it compliments a good story, but just to have them for the sake of having them, it gets a little boring, especially if you're talking a TV series. At least with a movie that's an hour and a half to two hours, you see it and you're impressed, and then you're out. With a series, if it's only that, week after week after week, there's nothing there to bring you back. You have to get invested in the characters and care about them and want to follow them.
For me, if the writing and - by extension - the subject matter and the characters are all good, it doesn't matter if it's film or TV. Each medium has great things going for it.
Each form of the acting is different. I think it keeps your mind active. TV, film and theater are different disciplines, as are independent films, opposed to studio films. There are differences in the size and the genre, or a period drama as opposed to a contemporary drama, or the types of characters.
I come from a very sporty background because my mom is a gymnastics teacher. So growing up I was never sitting watching TV in the afternoons. I always played ball outside in the backyard.
If I ended my career, I wouldn't mind doing a TV series if it was a western and I played a mute gunfighter so I wouldn't have to remember lines every week.
I love producing my kids and my wife's TV show. I love doing that. I think that's my most natural space in the business. I would say the most natural space for me is producing or editing. That's just where I thrive.
All of a sudden Mindy [Kaling] was writing on The Office and had sold a TV show. When we'd try to write shows, we'd jokingly call the word documents "Hit Show." We just couldn't crack the code.
One reason I avoid the American TV talk show circuit, when I'm over there, is that the tabloids and the gossip mill are always churning with new, true, or untrue stories about new loves, old loves, pending marriages, divorces, trial separations, flings and affairs with people of every description. I'm not into any of that.
Whether it's a lower or higher budget project, a TV show or a film, the words on the page are the same to me and I approach the work in the same way. My job is to lift the character from the page, whether it's a TV or film script.
With a film, you know the beginning, middle and end of your character's arc. But on a TV show, you have no idea where they're going to end up.
I'm not the sort of bloke who spends a long time in the bathroom. I've never used a face cream in my life and I don't like it when I go on TV and they offer me make-up. I tell 'em, 'No thanks.'
Certain kinds of things that the novel used to do, which was, "Oh, I'm living out here in West Nowhere, Nebraska and I'm curious how the upper class in New York City lives, I guess I'll read a novel about it." We don't have to do that now. You just turn on the TV. Turn on Lifestyles Of The Rich And Famous. You can get that information anywhere. Novels don't have to do that anymore.
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