My personal sense of humor is edgy, I would say more cable-like: words you're not allowed to say, ideas that the majority of people might say, "That's too risqué for me."
I mean look at all these acquisitions and mergers - WhatsApp and Oculus and et cetera. There's no way that you can envision these tech companies as the underdog anymore. They're always presented as though they were these little guys who you should be championing - Facebook will overthrow the cable television complex, blah blah - but it's more likely they will merge with them.
Are we on the tail-end of a generation that is enamored with the novelty of these devices and will younger people coming of age be more blasé about them in a healthy way? You look back at the history of any medium and the people who were there when it was developing, whether it was the telegraph or cable television or radio, thought, This is amazing, it's going change everything, or, The human community will finally be able to recognize each other and speak and be one - I mean, some people thought the telegraph or television would usher in world peace.
As a male, I thought the female voice was so strong, unique, real and accessible to most females. In some way, shape or form, they felt like they could relate to it, on some level, because they went through some form of unspeakable horror like what Kilgrave did to Jessica [Jones]. That, in itself, is something that most people shy away from, even in shows that are on cable or in movies.
I like to multitask. I love the process of the storytelling in television. I love the serial. Even my stab at doing a procedural show was still very much serialized. I'm such a serialized storyteller. I feel like the story never ends. I want it to go and go and go. However, with cable and streaming now it's endless. You can do anything.
Why would you let [the TV audiences] build a habit of going to the cable networks? So I think they've obviously smartened up now, and they're not giving the summer to cable anymore.
James L.Brooks is just a very original person. So that was definitely the luckiest, most important thing that happened to me [meeting him]. Then I guess also meeting Ben Stiller. He cast me in the only thing I think I ever auditioned for and got: Cable Guy [1996]. And that led to us becoming friends.
I experimented a bunch with Ernie Ball in getting the strings to not flop around too much, but at the same time not to be too thick to where you're playing telephone cables.
When Jim Carrey signed on to star in [The Cable Guy], and then they asked me to produce it, I made a very brief plea to direct - which was rejected really as quickly as anything can be.
I've all venture a guess as we saw a lot of those executives going in for the viewers, we saw a bunch of Fox News executives going in there. We saw Jeff Zucker president of CNN standing there, just in case you don't know those faces. So there was all of muckety-mucks from all of the media, cable, broadcast, you name it.What is fairness to [Donald] Trump? With President-elect Trump?
When people look at the ratings and they're bad, I think people can get an idea of "Why would they even make the show?" And to a certain extent, original programming for any network is a loss leader to try to get you to keep the channel on your cable package.
Sometimes I look around cable news and it's like you wonder whether you're looking at anchors or authors.
Much to my surprise, there's a sense for people in the cable industry that fiction writers might actually be good at script writing. You can write dialogue!
The TV season is a year-long thing now, and the networks are starting to look at it that way, thanks to cable, satellites, and competition.
The only work I ever turned down was a cable programme called Diving for Excrement.
You could place one product in a first-run telecast, a second product what that program is rerun, and a third product when the show goes into syndication, and another product when it goes on cable.
What do we think of sex on television? Frankly, I think it's a pain. For one thing, the cable box gets wedged into your back and gets real uncomfortable.
An image is a bridge between evoked emotion and conscious knowledge; words are the cables that hold up the bridge. Images are more direct, more immediate than words, and closer to the unconscious. Picture language precedes thinking in words; the metaphorical mind precedes analytical consciousness.
More warnings issued by all branches of the government today that another terrorist attack is imminent. We're not sure when, we're not sure where, just that it is coming. Who is attacking us now, the cable company?
I can tell you from personal experience it gets a little tiring having to make the rounds on cable shows to explain 'what's up with black folks.'
There are areas using what's called the "checkerboard strategy." They are different cities where you can move around the "checkerboard," doing things you can't do in every square, that you can do in some of them, building a mosaic of these kinds of practices. There are about 400 cable television networks, for example, that are publicly owned. That's a big fight for big private companies. In some areas, this is a political struggle, in some it's conventional common sense.
What serialized cable dramas have given us is the opportunity to not simply tell the same story with slightly different words and different costumes, every week. people are really mining the ability of storytellers to tell a long form story that goes from A to Z, and to trust that an audience will follow that. If they miss it, over the course of the week, they can watch it online or buy the DVD. There are so many different ways of interacting with it. Storytelling in television is getting more complex and more nuanced.
The internet exchange is sort of the core points where all of the international cables come together, where all of the internet service providers come together, and they trade lines with each other. These are priority one targets for any sort of espionage agency, because they provide access to so many people's communications.
Success in TV-showmaking is just a matter of being authentic and doing the best you can, and you hope that people watch it and like it. For us [showmakers], we know where our bread is buttered, and we live by the written word of the critic. That's how shows build a critical mass on cable.
Cable cars are fun - everyone gets on board and becomes a rhesus monkey.
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