Quotes of All Topics . Occasions . Authors
I'm a believer in broadcast.
Before there was cable, Fox was cable.
Producing a drama is particularly difficult.
'The Walking Dead' is an extraordinary thing.
Narrative storytelling is wired into our humanity.
Is The 'X Factor' the mother of all shows? Absolutely!
Fox was the challenger to cable before there was cable.
I'm trying to be a broadcaster and have a big cultural impact.
NBC, for me, is like the crazy ex-wife that I can't get away from.
Unfortunately, there is no 'X Factor U.S.A.' without Simon Cowell.
I still love a great pilot as much as I did the day I started at NBC.
The 10 million views on YouTube are... worthless to us as a business.
Trying to find big hits has always been a needle-in-a-haystack endeavor.
TV has so many access points, so many availabilities. DVR, binge viewing.
Trying to make programs that are all things to everyone is not going to work.
It's always a good problem to have to hear people saying they want to see more.
Nobody watches commercials if you ask them. Nevertheless, they watch commercials.
'Surviving Jack' was actually a really nice show that was very well-run creatively.
'Friday Night Lights' was never a break-out hit; I'll never regret doing that show.
'Fringe' has been a point of pride. I share the passion for the show that the fans have.
Success is often built on the shoulders of failure - from which new configurations emerge.
I've spent a lot of time encouraging, corralling, protecting, and sparring with creative people.
I love my job, but I'd really love my job if I didn't have to live and die by ratings every day.
The resilience of narrative storytelling and people's love affair with television is impressive.
I've respected the people that I've worked for, and they've been supportive and respectful of me.
One thing that cable has done is trained the audience that, when a TV show is on, it should be on.
When you start to feel you're not coming to work with the same enthusiasm, maybe you shouldn't hang onto that job.
While I felt like we potentially had something really huge in 'Gotham,' you're always nervous that it won't live up.
Rather than make 20 things and throw them at the wall and hope you get 6 that maybe feel like keepers, why not focus?
The one thing that I'm really obsessed with is multi-camera comedy. It is a form that is unique to network television.
What the hell is pilot season? It's an artificial boundary that makes no sense, and it makes you do things under duress.
There are not going to be hundreds of cable networks doing original programming; they won't be able to sustain the model.
How people watch and the different ways they connect to TV - you're going to see some expansion and radical transformation.
Producing a one-hour show that has to reinvent musical numbers, and interpret those musical numbers with a large cast, is difficult.
Every television show is hard to do, but when you're in genre and you're recreating worlds and mythologies, they're particularly hard.
As the media landscape continues to evolve, 'Conan' will continue to lead the evolution of what a talk show will be in the digital age.
The way television is done, you're kind of set on a certain path, and then episodic directors come in every week to try to recreate that.
Pilots are useful. You just learn things during a pilot - the piece of casting that just wasn't right or things about the storytelling nature.
If what you're doing today isn't vital, you're certainly not going to have a seat at the table in determining what's going to happen tomorrow.
As an industry, when you're in the talent business, we are way too obsessed on the competition with each other and not enough with the consumer.
When you get these franchises with some built in profiles and anticipation... I think the anticipation and the buildup can can exceed the delivery.
It's really the rare creator who can tell you where he's going to end the season of 22 episodes. That's not bad. That's part of the creative exploration.
We're in the culture business. You are constantly monitoring cultural shifts, current events, shifts in mores, things that reflect society, and, at times, we try to drive it.
The biggest move that put Fox on the map, from an entertainment perspective, was when 'The Simpsons' moved to Thursday night, and that was paired with 'Martin' and 'Living Single.'
I love talent because they are passionate. They can be emotional and irrational and unpredictable... and that's okay, because all we want is something exciting on the page and on the screen.
Whether Amazon is good at making and sustaining an entertainment business remains to be seen. But they certainly are 100% focused every day on optimizing the consumer experience and reducing friction.
Creating more direct relationships with consumers, utilizing the resulting data and insights, is increasingly more valuable - and an evolution of the traditional competency of ad-supported television networks.
I do believe that the audience is capable of embracing quality. But a lot of times, they'll be like, 'Why isn't there ever anything good on TV? Put something good on.' 'Uh, if you watched this, it would help.'
I, for one - I'm not a believer that, now that the Facebooks and Googles and everyone is entering the content fray, that it's a foregone conclusion that they're just going to get it right and be amazing at it. It's really hard.
'Glee' is produced with three people and written by three people. In my mind, I don't believe there's any other show on television that was written by three people. The fact is there are shows that have 14, 15, or 16 people writing them.