I've been on so many primetime shows that were cancelled - after one episode, after 10 episodes, after just one season. I got used to that. But I found myself choking up a bit at 'OLTL.' It was really hard to say goodbye to those people. It was not the way we wanted to go out.
I was always prepared for my Fringe journey to end immediately. I had only signed up for a guest role but they kept bringing me back in the third season as a recurring character. So pretty much every time I went to film a 'Fringe' episode I kind of said goodbye to the show, but then they kept bringing me back.
Oh my God the fantasies are my favorite thing that we do each episode by far. And the great thing now is that instead of one an episode sometimes we do as many as two. We did one in each of the mini-series. And so far - I mean I keep thinking I can't have another favorite and then they keep topping it.
What happened in the missile crisis in October 1962 has been prettified to make it look as if acts of courage and thoughtfulness abounded. The truth is that the whole episode was almost insane.
During episodes of unemployment I find it rewarding to sleep as much as possible-anything from twelve to fourteen hours a day is a good starting point. Sleep spares you humiliation and saves money at the same time: nothing to eat, nothing to buy, just lie back and dream your life away.
The great thing about television is that most things get resolved by the end of the episode. So I think a lot of people watch TV to see something of their real lives reflected on the screen, but also they're hoping for that happy ending.
The way history is currently taught in schools, jumping from Hitler to the Henrys, is like a nightmare vision of Star Wars, where you have episode four before you have episode one. The sense of going on a journey, of chronology and continuity, is incredibly important to the imagination.
When you do children's TV or one episode [guest] stuff, you have to listen, which is also a great thing to learn. But you don't have individual input.
When it comes to Project Runway, for me the most memorable look ever presented goes back to season one, episode one, when Austin Scarlett created a ravishing cocktail dress out of cornhusks. It was really amazing.
Director Michelle MacLaren is the John Cage of this malevolent silence, able to wield it as precisely as a pointillist with a paintbrush. And with 'To'hajiilee,' the final episode of Breaking Bad she'll ever direct, she has painted her masterpiece. Under the unblinking eye of her relentless camera, this was television not as entertainment but as endurance. It was agonizing, nauseating, unbearable. I loved every minute but hated every second. I couldn't wait for it to be over but I never wanted it to end. And I especially never wanted it to end like that.
This is quite difficult 'cause I have a really flat head, and so it's quite difficult to get a correct angle. And you can't go up from down below as well, 'cause I've got, like, rock solid gelled hair. And so, like, it was odd. I don't know, sometimes I feel like my head is being, like, turned inside out. Like that episode of Ren & Stimpy when he's inside his own belly button. I don't know.
I loved the show Lost, in part because the writers were so nimble in how they would take things from previous episodes, that probably weren't created with any intent towards a larger narrative, and they would get woven into narratives in a really elegant and exciting way.
Mara Casey gave me my first job. I saw something online, and it was for a part in a "Gilmore Girls" episode, and I thought I was right for it.
I was dreading all of the ghost stories of working on American television, not in the least, the length. In Britain, a series is six episodes of an hour drama, maybe sometimes eight, but never twenty-two, so I was petrified of that.
I'm still learning. It's all a learning curve. Every time you sit down, with any given episode of any given show, it is a learning curve. You're learning something new about how to tell a story. But then, I've felt that way about everything I've ever done - television, features or whatever. Directing or writing, it always feels like the first day of school to me.
I love my situation as a spectator. The actors are only a little bit ahead of the audience. The audience discovers the episode when it's screened, but we actors only discover the episode when we get the script, two weeks ahead of shooting. Until then, we know nothing of the evolution of our characters.
If you watched 'Lost,' sometimes the episodes were crazy good and sometimes you're like, "That one was just sorta there."
I once saw, on a flower pot in my own living room, the efforts of a field mouse to build a remembered field. I have lived to see this episode repeated in a thousand guises, and since I have spent a large portion of my life in the shade of a nonexistent tree I think I am entitled to speak for the field mouse.
The second episode of any new show can be tough. You have about a week to top the well-crafted and polished pilot episode that was written over six months.
This, then, is the doctrine of the resurrection. We do not believe--at least I do not--that law has been rudely violated in one extraordinary and unparalleled episode. We believe that a universal law of life, overmastering death, and always superior to it, has had once a visible witness.
Those who had been riding the upward wave decide now is the time to get out. Those who thought the increase would be forever find their illusion destroyed abruptly, and they, also, respond to the newly revealed reality by selling or trying to sell. And thus the rule, supported by the experience of centuries: the speculative episode always ends not with a whimper but with a bang.
I tend to avoid the shows that focus on politics, just to get a break from it all, i tried watching the first couple episodes of 'House of Cards,' but I thought it was way over the top. Members of Congress aren't anything like Frank Underwood. Most of us are far less interesting.
How would you describe the difference between modern war and modern industry-between say, bombing and strip mining, or between chemical warfare and chemical manufacturing? The difference seems to be only that in war the victimization of humans is directly intentional and in industry it is "accepted" as a "trade-off." Were the catastrophes of Love Canal, Bhopal, Chernobyl, and the Exxon Valdez episodes of war or of peace? They were in fact, peacetime acts of aggression, intentional to the extent that the risks were known and ignored.
How can such episodes of such savage cruelty happen? The heart of man is an abyss out of which sometimes emerge plots of unspeakable ferocity capable of overturning in an instant the tranquil and productive life of a people.
Reminisce about the little episodes that we shared together
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