People are watching TV, they're watching some clips on their iPhone. I mean, some folks are sitting there on the iPhone, watching the Colbert Report, and meanwhile there's a huge plasma TV right in front of them that they could be watching it on.
People don't like the music that's out now, that's on their radio stations, and they want to hear something different, but they're just the audience. You know, people will keep the TV on even if a show is on that they hate - because, unfortunately, they've been programmed to do that. [But] they are really looking for something that's gonna speak to the world that they're living in. That's what people are looking for, but they're not finding it.
People will keep the TV on even if a show is on that they hate - because, unfortunately, they've been programmed to do that.
Why is thinking about crime or imagining crime so goddamn central to pop culture? It doesn't matter whether it's American TV or British TV. And there's entire sections of bookstores devoted to crime.
Even the sad roots songs have a lot of good stories to them, and the murder ballads are good too. I mean, who doesn't like to watch a nice gory murder film on TV?
Acting is what I love to do.I understand the differences between the different formats. But I enjoy whether it be film, TV or in the theater.
Early on, America took one path and went down the advertising road, and in the UK they founded the BBC and developed a different kind of public broadcasting. There was a point where TV was so beholden to commercial interest that people - civil society - actually rose up and said, "This is ridiculous: we have our soap-selling soap operas, cigarette-sponsored news broadcast; we have our rigged quiz shows - let's put some checks and balances here."
If you're someone who's making film or TV or music, or any kind of art form now, there's a billion outlets and they all have an opinion.
The fact is, though, what I think we really like is Marlon Brando, Al Pacino, Robert De Niro and James Gandolfini. We like what the media has created of the mob bosses in movies and TV and books, because it's something the average person never comes into contact with, it's almost as outwardly outlandish as a sexy vampire, and so we can romanticize it, it's non-threatening.
Unlike other books or TV shows or sometimes life, my narrative worlds are stripped of implicit moral centers. There is only what you bring. That makes the characters risky in every way and the narrative, a journey of change for the reader. But I make the journey as fun as I can.
I have a phobia of checking voicemail. I watched a lot of TV as a kid, and everything is, like, you're gonna get kidnapped, or somebody's gonna die, or killer bees are going to take you out. I'm a very anxious person.
We're lucky to be in the middle of a TV renaissance. It's the healthiest storytelling medium in our culture.
The Shield made me realize there were great opportunities for writers in TV.
Fiction and screenwriting blend for me. I feel like being a TV writer/screenwriter has definitely made my fiction writing better, although I have less time to do it.
After working as a producer on many pop, electronica and some soundtrack, incidental music projects, I became more focused on film and TV scores.
In other films and TV shows, we might say, "Well, they're just evil." In our show [Daredeval], we're trying to say, "There's bad actions, but not necessarily bad people."
Silver rights aren't as dramatic and captivating as civil rights. The movement isn't good TV and it's boring or inaccessible to many people. The forums were created to spread awareness, dialogue, and community to forge new partnerships and ideas.
TV show is always challenging. It's challenging when you have all of the time and money in the world, and it's more challenging when you have less money.
I liked the movie Splash a lot when I was little. I think we taped it when it was on TV, and then would watch the movie fairly often.
There was a TV show called Thank Your Lucky Stars, with the catchphrase "I'll give it five!" The Beatles and Stones were so popular when they were on it. One week The Beatles were number one and then the Stones were right on their heels.
I feel connected with people because of their sense of humor, worldview, and what they think and feel about certain existential issues (things not affected, in my view, by if someone rides a horse or drives a car or talks only IRL or only by typing), not how old they are, what they use to convey what they think and feel about certain existential issues, or if we have both watched the same TV shows or looked at the same websites.
My personal beliefs were shaped more by experience and by watching the news when I was young: images of angelic-looking college students in Mississippi crying like the world was ending because black people were being allowed on their campus; the slow mounting horror of Vietnam on the evening news every night; sitting with my parents in front of the TV and being appalled at the way the Chicago police were treating the protesters during the '68 Democratic convention. Being eyed with suspicion because of my age and the way I wore my hair.
In almost every book I've written, there is a reference to a movie - legendary films, actors and actresses, and forgotten made-for-TV movies. The leaps poems make are not unlike the cuts in a film. The miniature and avant-garde prose poets have perhaps the most obvious ties to film, as a prose poem in its shape is not unlike a movie screen.
A lot of talent, a lot of the currency that movies used to have, has spilled over into TV. People talk about TV the way they used to talk about movies and, as much as I hate to say it, the way they used to talk about books.
Everybody says, TV is great, the writer has so much power. I'm still trying to convince myself that's true. When do the writers ever have power? Ever? They don't. Even in the book industry.
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