Quotes of All Topics . Occasions . Authors
In Botswana in the Kalahari Desert there's a tented camp called Jack's Camp, which is like old Africa meets Ralph Lauren. The Oriental rugs, the old leather chairs - you feel like you've just jumped out of a Ralph Lauren ad.
There's going to be a lot of people that don't like you, and there's nothing you can do about it. Instead of trying to win them over one by one, you need to do things that are getting huge swaths of votes [in the elections].
For daughters of the new American billionaires of the 19th century, it was the ultimate deal: marriage to a cash-strapped British Aristocrat in return for a title and social status. But money didn't always buy them happiness.
The question is, what are appropriate words and inappropriate words for network television, and what's the context? Was this appropriate in this context? Or are you creatively trying to find a way to use that word on the air?
In TV and film, a little goes a long way. I see the show as horror so a lot of the [violence] is suggested. But it is violent. It is gory. I don't see any need to up the gore. Just to keep it as real and visceral as possible.
The idea was always going to be that each year is a stand-alone story, which did make it easier on some level. It also requires the network to have the creative imagination to say, 'This is also 'Fargo,' you know what I mean?
You can't sell a book in America if you don't dump on Bush. That's the cheapest shot in the world. You cannot get an advance, and you can't sell a book because the publishers are all people who hate Bush and hate Republicans.
Obama's the one who never worked a day in his life. He never earned a penny that wasn't public money. How many fund-raisers does he attend every week? How often does he play basketball and golf? I wish I had that kind of time.
The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.
Making movies was more a reaction to not being chosen for sports. Other kids were out there playing at whatever; I was off making something blow up and filming it, or making a mould of my sister's head using alginating plaster.
It doesn't matter if these characters are supposed to be together forever: if their chemistry gets stale, you want somebody to die, you want to put somebody in a coma, you want to write them off the show - anything to save you.
When all of your decisions are based on economics, you end up with a sameness of vision. You're not taking the risks, you're not exploiting the passions of your creators. You're manufacturing product for a huge vending machine.
An actor's only perception is of their character, and they're looking at one piece. A writer is looking at the entire story. They're going to see things that the writer didn't see because they're only looking through their lens.
I found a nanny/child care position in Beverly Hills taking care of a 3-year-old and a 17-year-old. They had a large, wealthy house. I learned that I liked the way rich people lived. I learned that they were not smarter than me.
The great thing about making an ensemble show is it becomes modular. It might work on the page to cut from one scene to another, but on the screen, it's more powerful to take that second scene and move it first or move it later.
Theres just a big group of actors in London. There are new ones coming in all the time, who are looking for work, and established actors who are interested in working and like to work. To be a working actor in England is a life.
Everyone starts out desperately trying to make a hit, but some people are just more mistake-prone than others. I happened to be fairly mistake-prone. Of the 40 shows I made, I'd say ten were hits, which is a pretty good average.
As the show's executive producer, I envisioned something akin to "Gilligan's Island" meets Lord of the Flies meets Ten Little Indians mets "The Real World." "Survivor" marks a return to a core element of adventure: staying alive.
Writing is this odd act, right? To sit and type, or write by hand, or whatever people do. And it requires a real discipline because it is really a sheer act of will that you're creating something, and you're doing it by yourself.
There's just a big group of actors in London. There are new ones coming in all the time, who are looking for work, and established actors who are interested in working and like to work. To be a working actor in England is a life.
Of every movie that I've seen multiple times, of every TV show that I was obsessed with, I don't think I was ever obsessed with anything more than 'Flowers in the Attic,' which I read 13 times between fourth grade and senior year.
One thing I've learnt is you should never fight it. They're natural emotions and when you try and bottle everything up, that's what can make you depressed. Luckily I have fantastic memories [about my parents] and they really help.
I never pay attention to errors in the Minor Leagues. Derek Jeter made 43 errors in the South Atlantic League, and I didn't care. With his hands and his range, I don't worry about that with Zimmerman. He is a good defensive player.
Whenever any actor comes into a producer session, they have so many questions, and we still can't really tell them that much until they get the job. I feel badly for them. But, it's a fun show to work on. Once they're on, it's fun.
Growing up in Ohio and just being kind of an average guy from flyover country - my dad was a factory guy - I try to put things on a screen that reflect reality. I don't mind if people want to argue with that, or think that's crazy.
We've been pretty successful over the years, not necessarily adding series regulars, but just bringing long-term recurring characters. In my opinion, it's sort of like as life goes, you have people that come in and out of your life.
There's always a crisis somewhere, and you get the satisfaction of solving the problem. And then, there's always the mystery of whether a program will work or not, and waiting for the reviews or seeing what the audience figures are.
One of the towering people in this industry said, why don't you go and make a five-year contract with somebody, make yourself several million dollars and put it away, then go and do whatever you want, work for public TV if you want.
I remember being taught to read at a very early age. Like creepy young. I remember being in the crib, reading. My parents were very impressed. My reading speed, comprehension and overall ability has remained at that level ever since.
Cameron Crowe is someone who I've admired for so long, and I've been friends with him for many years, and I've wanted to work with him so badly that I just never stopped bothering him about writing a script that would be for a pilot.
I'm always very fearful when academics get ahold of comedy. Comedy is such a clear thing - people laugh, or they don't laugh. It's involuntary. I'm not saying it can't be scrutinized, it's just that they take the enjoyment out of it.
You cannot allow whether someone likes you or not to alter your course of action. Sometimes I think, 'Sure, that hurts my feelings.' But it's not so important that I will adjust what I'm doing because someone is not going to like me.
I honestly can't ever imagine retiring because I don't know what else I would do - even when I'm on holiday, 70% of the time I'm working. I think I'd like to go out on the job so, ideally, 'And the winner is... Ooooh, and he's gone!'
I think a lot of other shows cast off of people's reels, and I think every one of those people came in, auditioned for those parts, and knocked it out of the park, and I thought they did an outstanding job in the course of the season.
It's not often that I read about actors that I'm going to be meeting. I get to read articles about actors who were going to come in, so I get to see someone and say, "Oh, I read that I was going to see you. It's very nice to see you."
I try to not let there be too many steps between what I am mostly focusing on and what I am physically doing. If you are constantly standing back and looking at the whole map, you are going to miss a lot of turns and feel overwhelmed.
I'm thirty-six years old and I've been married once and he left and I don't want to feel this way anymore. Like I can't be vulnerable. Can't relax. It's exhausting, always being on the defensive, keeping my guard up. I feel like Cuba.
A two-hour movie tends to be a plot-delivery device; you tend to have to introduce all the characters, say what the goal is, and then get there with a setback, but that's not really how life is or what a story necessarily wants to be.
You’re far more likely to see a naked woman than a naked man. It’s only [seen as] rude because the rest of television is rather tame – it doesn’t actually talk about sex and our bodies and how we feel about them. I’m not out to shock.
Cop shows are by definition melodramatic; they're larger than life. They create very stark contrasts and conflicts emotionally. They're provocative, assuming they grapple with - to the extent that cop shows are mirrors of the culture.
If Antarctica were music it would be Mozart. Art, and it would be Michelangelo. Literature, and it would be Shakespeare. And yet it is something even greater; the only place on earth that is still as it should be. May we never tame it.
One of the fundamental issues with The Vatican is that the world changed on us. That show was conceived and written while Pope Benedict was still in charge of the Vatican, and it was conceived in a world that now would feel very dated.
I have very simple ambitions. If I can just not be boring, I'm ahead of the game. It's hard in television. I think you get enormous reward from the audience. Just give them something they didn't see coming, and you get enormous points.
If you write a good line, you write a good line, and the best line wins in television. It doesn't matter if you're the guy who gets the coffee or if you're the showrunner - best line wins. That's the beauty of television collaboration.
As for my schedule, I tend to go to bed at the same time every night and get up at the same time every morning, and I try to be as productive as possible. Some days, I can devote to one specific thing. Other days, it's a catch-all day.
I think it is an intelligent story [The Intruders]. You've got adult characters who are in search of some things that are out there that we sense are out there, but we don't have any proof. John's character stumbles into that situation.
My degree was in education, but the idea of being a teacher lost out to being a reporter. I worked at a newspaper for a while, then went to New York and worked in PR at RCA and NBC, and at 'The United States Steel Hour,' a drama series.
Capitalism works. In the end, socialism imploded on itself. Communism imploded on itself. Ultimately jihadism will implode on itself, if we stay in the fight and stay on offense because failed philosophies don't work, there's no future.
Fun, that's the word I keep on using. That's the word I worry about when other writer's scripts get too dark. Optimistic. Fun. And to be optimistic and have fun there's got to be a darkness there. I think that's a very British attitude.
I have total respect for anyone who discovers a band like Snow Patrol. I would be hopeless at signing a rock band, or anything alternative, cause I don't know what that audience are into and I don't particularly like that kind of music.