Writing for television is a great job. And it's a job. Most people watch TV and have a comment about one or two moments of an episode - whether they love it or hate it or something in between. To come up with every moment of an entire season of a TV shows is heavy lifting.
It was my second show as a writer, and Justin Timberlake was just coming off boy-band stardom. People were rolling their eyes, but I used to watch the Mickey Mouse Club, and I knew all those kids were talented as hell. Justin was as comfortable on camera in that first episode as any of our cast members.
"Diiiie men." If you play any Broad City episode backwards, that's all we're saying.
During Christmas time, on German television they show films with three or four episodes, and I quite like the feeling of waiting for the next episode.
Hours is an understatement. I honestly don't know how the director and editor decide each week what actually makes it on the air. There's of course director and cast commentary on each episode on the DVD. We had a blast recording that.
What I do with everything is take things out of real life. You encounter all sorts of stories. It's a lot of your friends and family, sometimes there's quite sad episodes in their life and everything. So just little things I've picked up along the years always find a way into all of my stories.
My favorite episode is where the guy has a relationship with his car. An intimate and sexual and emotional relationship with his car.
I moved from Italy to Oregon in the '80s - sort of like moving to the middle of a "Duck Dynasty" episode, which was massive culture shock to say the least.
Luckily the script [of X-files episode] was written wonderfully and that became who I was and I was quirky, and I was kind of agitated and not entirely happy, but at the same time, witty.
Human destiny is an episode between two oblivions.
[The media's] fantasy of an America bristling with racists allows them to portray any criticism of our massively incompetent and dangerous president as just another sad episode of oh-so-typical white racism.
Yeah, you can explore a lot more. Every one of the storylines is multi-faceted, so there are so many directions that it can go. It makes each episode so interesting.
Yeah, it's been pretty gnarly. It's fun. It can only be fun, unless you're really squirmy about that. Honestly, during that guts episode, they didn't tell Andrew and I anything. They just put trenchcoats on us and said, "All right, just stand right here and we're going to put this stuff on you."
I know a lot of people who say, "I reluctantly watched the first episode because I don't really like zombies and that stuff, but I was pleasantly surprised by the characters and the drama of it all." I think that's what keeps people coming back and brings new watchers to the show. What the show does is cross many, many different viewerships.
I can't point to any major episodes of sexual discrimination in my early life. But I was so aware of the crime, the shame that there was no use of my mother's ability and energy.
It was tough to write. We had the shadow of "Lost" hanging around and I just kept saying, "Guys, we need to take a really wide birth around 'Lost.' We're going to get lots of comparisons anyway, but we need to prove, within a couple episodes, that it's not 'Lost.'"
Television moves so fast. A series moves at such a rapid pace and things are changing, episode to episode, where you're going, "Wait, why am I doing this? This last episode, you told me I was doing this." You're shooting at a moving target.
The best thing about the Nikita show is that there's so many layers. Even after the pilot, the next four have a twist. Don't think that you've seen it all or that you know it now, and that it's not going to have any more surprises. There's a surprise in every episode, so it's a lot to keep track of.
We do want the freedom to move scenes from episode to episode to episode. And we do want the freedom to move writing from episode to episode to episode, because as it starts to come in and as you start to look at it as a five-hour movie just like you would in a two-hour movie, move a scene from the first 30 minutes to maybe 50 minutes in. In a streaming series, you would now be in a different episode. It's so complicated, and we're so still using the rules that were built for episodic television that we're really trying to figure it out.
All kinds of violence on the TV. You're not supposed to watch violence on the TV. Children, they can't watch it 'cause they're afraid maybe the kids will copy something they see on the TV. I can't even get a funny cartoon anymore because some 12-year-old somewhere watched a particularly violent episode of the Road Runner-Coyote show, and the next day, they found him at the bottom of a canyon, two giant springs strapped to his feet.
You know what, despite my complaints about The Phantom Menace and Episode II, when Episode III comes out I'll be first in line. I genuinely love it.
A lot of people ask me what my favorite episode of Full House was, I always tell them: it was the last one!
A lot of guys I know loved Sex and the City. They’ll take it to their grave, but they watched every episode of it.
I feel like every first episode of a TV show is bad, you know, and it always improves.
If you take a look at the way the premium content is monetized, there's a lot of different models out there. Sometimes you pay for an individual episode, for example on iTunes. Other times you pay for a subscription. And other times it's free ad-supported.
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