Hbo Quotes - Page 5

Grid View List View
Quote of the DayPicture QuotesTop 100 Inspirational QuotesTop 100 Love QuotesTop 100 Happiness Quotes
Barack ObamaMartin Luther King, Jr.Michael JordanWilliam BlakeJohn LockeJoe BidenNapoleon HillGeorge Bernard ShawSteve JobsOprah Winfrey
Equality18th BirthdayI Miss YouReligionCommunicationPoetryHopeFamousOrchidsSympathy

I've always been a big fan of entertainment. Having cable gave me access to HBO, Showtime, and The Movie Channel. Constantly taking in all these films from different eras and different styles has really given me a good vocabulary in how to talk about movies.

I toured with Skrillex, did an HBO commercial with Diplo. In the hip hop movement, I was the first artist Travis Scott ever featured with before he blew up. I had the songs with Chris Brown and Tyga. I've worked with some of the biggest artists in the world.

I love the NBC comedies. I DVR 'Parks and Recreation,' 'Community,' 'The Office,' '30 Rock.' I love most of the HBO shows. I love 'Archer.' 'Archer's a great show. I'm big on Netflix; I've seen every episode of 'Freaks and Geeks.' We need more shows like that.

I really loved the 'Sopranos' but didn't have HBO. So someone would send me tapes of the show with three or four episodes. I would watch one episode and go: 'Oh my God, I've got to watch one more.' I'd watch the whole tape and champ at the bit for the next one.

I own four copies of Robin WIlliams's Live on Broadway comedy special for HBO. One in Wilmington, one in L.A., one in my trailer, and one at my parents' house. I can watch it over and over again and it never gets old. He is the funniest, wittiest man on the planet!

Eddie Izzard is wonderful, I think, but I've only seen that one HBO special he did. He's one of the few people who talk about stuff other than girlfriends and relationships and flatulence and genitalia. There are very few of them who actually talk about real stuff.

I was fortunate enough to do an HBO show, 'Rome,' in which my arc was built in by historical fact, and over the course of 22 episodes, we were able to tell the stories of these people. We had a beginning and middle and end, and as we went on, you changed every week.

I'm on record saying that HBO is the best television company in the world, and I believe they are. I think they absolutely understand how to make television that is really, really vital and interesting and visceral, and all the things that television really should be.

I've never done a big series like 'Game of Thrones' before. All I knew was that it was HBO, and I'd seen what they had done with 'The Sopranos' and 'The Wire.' But when I started reading the script, it was a no-brainer. Yes, yes, yes. Gold. Every time I turned the page.

When we were thinking of 'Westworld' and doing it with HBO, what they really showed us is that they have the ambition in their network, and they value production value as much as we did, and that that would be a perfect place to do a show of this scope and this ambition.

I guess HBO did a giant 'War in the Pacific' mini-series that cost, like, a fortune, and there was a little moment where they literally had no money. And even though the show had become kind of a cult hit, there was an issue of whether they could actually afford to do it.

The most exciting fight I have called on HBO was the first meeting between Arturo Gatti and Micky Ward. When I stood up to do the post-fight on camera, my stomach muscles were tight and sore from the tension of watching them take their lives into their hands and trade shots.

[George Carlin] was obsessive about time; he was obsessive compulsive about his material and making things shorter and more perfect. He did an HBO hour every other year. It's live; you have to be off-stage at 55 minutes. It's a network; you've got to be off. And it's perfect.

This is a dream come true. HBO is the highest echelon in the world for a stand-up comedian to attain. Throughout my career I've trusted my instincts to lead me down the right path, and I am honored to work together with this network while contributing to the legacy that is HBO.

Most sketch aficionados have an enormous amount of respect for 'Mr. Show.' I didn't have HBO back then, so I was always trying to find episodes. Bob Odenkirk and David Cross became celebrities, and Jay Johnston - who's lesser known, but brilliant - deserves a lot of credit, too.

Frank Sobotka in 'The Wire' on HBO was one of the greatest characters I've ever played. They cut his throat at the end of that season. There's something about creative coupling that seems to go with great characters, and the fact that you can never play them again once you're done.

I will knock out Vernon Forrest in two rounds whether I have a cigarette or not. I know a lot of people want to see me fight more rounds. So, if HBO wants, they can pick two sparring partners for me to fight after I knock out Forrest. That way, the audience can see me fight 12 rounds.

Ben Affleck exec-produced a documentary for HBO called 'Reporter' about my 2007 win-a-trip journey. I take the trip each year partly to encourage young people to think about global humanitarian issues: I think blogs by a student may be more compelling for that audience than my own work.

Perhaps there's a lot of quality television that's not right for the individual who needs questions answered in each episode, and perhaps reality television may be a better option. With the integrity of HBO and their drive to tell stories, it takes time to arrive at any sort of answers.

I happened to fall into a job that wound up being a seminal piece of television history, which was a show I did on HBO called 'The Wire.' That experience really set the bar for me and opened a lot of doors. It also gave me a lot of street cred in terms of my phone ringing and job offers.

I just want a big HBO special or a network or somebody willing to get behind my work and promote it. The most frustrating thing for me is to have this successful act that resonates across the country, and the network guys just don't get it. Everyone sees it except them. I want to leave a mark.

I don't like swearing on the air. As a matter of fact, I'm not a prude, but I go to the movies and then wonder - I asked myself the same question, and I watch HBO and some of the comedy stuff, and I'm constantly asking myself, why have we gone there? It seems like it's unfortunate. It's so cheap.

I'm a grown-up and I'm a creative person so I should try to give something to that and see what I can make with that. And not sit around listening to people be like, 'You really should be on an HBO show. You'd be great on an Amazon series.' You're like, 'Thank you, okay. I don't have any offers.'

I would really like to do a really cool one-hour show, maybe on like HBO or something like that; or something that Ive spent a couple of years developing so it would be exactly the character and exactly in with a huge push behind it; or I would maybe want to do a sitcom; something light and funny.

The main thing that's important to me is getting to do whatever project it is the way that I do what I do, and that's different. To go to an entity - whether it's a traditional film studio or some newer company, or HBO, Amazon or Netflix - they would have to know that I need to work the way I work.

I had been writing for the 'Late Show' for about four years when I started writing short stories. I had a blast writing the stories because I was writing in a voice more my own, as opposed to a man's. HBO ended up buying four of them. I think that had a direct impact on my decision to write a book.

My VHS collection certainly contains videos that I've had since childhood, and also tapes that my mom had taped off of the Disney Channel or HBO - you know, blank tapes with the 'Care Bears' movie or whatever is on there - but I feel like that collection started for real my freshman year of college.

I would really like to do a really cool one-hour show, maybe on, like, HBO or something like that; or something that I've spent a couple of years developing so it would be exactly the character and exactly in with a huge push behind it; or I would maybe want to do a sitcom; something light and funny.

I remember one night, my parents were out at a function of some kind and I had just gotten cable in my room. That was a big deal, and I saw 'Blue Velvet' on HBO. It blew my mind in a way that I don't think children's minds are supposed to be blown, but they probably shouldn't be watching 'Blue Velvet.'

Dane Cook is one of the most exciting comedy stars to emerge on the scene in many years, and his ability to connect with audiences is truly remarkable. HBO will be able to give this gifted performer the broadest, most unrestricted showcase for his talent, and we're delighted to welcome him to the network.

I had proposed to HBO a series about the city cops in Rome at the time of Nero. What had interested me was the idea of order without law. The Praetorian Guard, who were the emperor's guards, understood how they were to proceed. But for the city cops, who were called the Urban Cohorts, there was no law at all.

I'm going to start work on developing a series for HBO, because I'm naturally given to episodic stories of considerable length. And I won't have to listen to complaints about how wordy and long my work is if you can watch it on your telephone on the subway: You can make it conform to your day as if it were a book.

The road I've taken to this point has not been easy. Being back on HBO is a big thing, but fighting on HBO in my hometown is huge. To be great you have to fight the best. Chad has beaten the best so these are the type fights I want to take. I will put on a great show for all the fans that come out to Oracle Arena.

'Boyz-n-the-Hood' was actually supposed to be written for Eazy's group. He had a group out in New York called Home Boys Only, called HBO. One of them looked like LL Cool J. Eazy wanted to write a song for them, a street song, like what we were doing on the mix tapes. So when I wrote it, it was too West Coast for them.

It starts with the writing - which is really, really good. And the production values are phenomenal. HBO and Sky have spent money on it, and you get what you pay for. This has money put into it properly - not lavish amounts - but as each season is successful, they maintain the money that's being spent to maintain the quality.

I remember when I had my show [The Chris Rock Show on HBO], I used to run my show. It was so hard to get people to bring sketches to me. No one had ever worked for a black person before. Even the black people hadn't worked for a black person. It literally took a month or two for everybody to know: I'm really running the show.

All the way back in 1999, when I first stumbled upon the idea of a project tracking John Dillinger and Baby Face Nelson and all the major Depression-era bank robbers, I thought the subject was too big to be a single book. Instead, with a friend's help, I pitched the idea as a miniseries to HBO. To my amazement, they bought it.

When I brought 'Sex and the City' to HBO, I wanted to do something independent, where I could be like, 'I don't care if anybody watches this thing. Just let me do something that I would love to see.' Honestly, the success of 'Sex and the City' was what was most surprising to me. It was sort of like the anti-TV-show in my mind.

The fact is that HBO is doing the kind of films and the kind of stories that the movie industry used to do. You look at a lot of the specialty sections of studios that have gone under... and there's no doubt in my mind why filmmakers and screenwriters and actors are ending up at a place like HBO. They do it better than anybody.

I know for myself, every now and again on HBO, they'll show some of the young comedian specials from the '80s and early '90s, and it's just fascinating to watch those comedians - some of whom are people that are world-famous, like Chris Rock or Judd Apatow - to see the jokes that people had, but also, the way everything looked.

I'm very, very proud to have been at what I feel are two of the pivotal moments in this whole new Golden Era of television - one being 'The Sopranos' with HBO and now with Netflix expanding that whole HBO concept to the world and making it more of a global thing. It's been wonderful to witness that from those two vantage points.

I was on a show called '12 Miles of Bad Road' with Lily Tomlin - it was an incredible HBO show. We shot 6 episodes, previewed it before the finale of 'The Sopranos;' it was written up as a 'Great New Show on HBO,' and then the whole thing was canned. Gone. Disappeared. That's when I realized anything can happen in this business.

Usually the films that I do are released theatrically in foreign markets. In the U.S., they're either picked up as HBO premier films or Showtime first-runs. In today's market, in America, you need at least $50 million for your budget to go to the big show, and I'm not quite there yet. But keep watching - maybe someday I will be.

Critics say Internet advertising suffers from limitless inventory, which depresses prices. These exclusive front-page sponsorships are not limitless. If HBO doesn't move quickly enough, Showtime can buy out Gawker and Jezebel for the key fall TV season. On any individual day, there isn't room for both of them; and that's healthy.

I have no idea what the economics of the movie business is, especially with all the new Amazon, Netflix, Showtime, AMC, SyFy, and HBO series. But I am intrigued with what feels like a new type of show - the six-to-eight-hour movie. It's a little too long to watch in one setting, but you can watch it over a three- to five-day period.

The Canary Islands offer special incentives to companies looking at potential filming locations, so it was only logical for me to help the local government make connections with major U.S. film studios like Universal, Fox, Sony, Disney, Paramount, Time Warner, 21st Century Fox, CBS, Viacom, Comcast, HBO, Netflix, Warner Brothers etc.

The DVR thing has rocked my world. Being on the road, I used to not keep up with any shows. Now I got a DVR, so I'm watching everything: 'CSI: Miami,' my favorites 'Criminal Minds' and 'The Mentalist.' I like some of the HBO stuff, 'Entourage' and 'Eastbound & Down.' My wife got me into the 'Grey's Anatomy' deal, so I'm watching that.

I was scared to death because for the comics of my generation, HBO specials are like the pinnacle. I'm thinking of all these unbelievable comedians I've seen on HBO: Chris Rock, George Carlin, Damon Wayans, Richard Pryor and Billy Crystal. I started having a panic attack seeing my name in that list of people. It was pretty overwhelming.

In the '80s, society created a caricature of what a hacker or a programmer looked like: a guy wearing a hoodie, drinking energy drinks, sitting in a basement somewhere coding. Today, programmers look like the men we see in the show 'Silicon Valley' on HBO. If you look at the message girls are getting, it's saying, 'This is not for you.'

I was a big fan of 'Six Feet Under.' So, I got a bootleg copy of the first four episodes on videotape, watched them and was instantly into it. During the first episode, I was like, 'Eh.' By the time I got to the second one, I couldn't watch them fast enough. I got on the phone that night, called Time Warner cable and ordered HBO right then.

Share This Page