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Television Quotes

“Jerry Lewis played on the very first season of Mad About You, and he played basically himself, but he was called some other name. He said he's never done it; he'd never done a half-hour of [sitcom] television. This was 1992 or '93. And I said, "Well how is that?" And he goes, "Nobody ever asked me." It's like the pretty girl at the dance; everybody's too afraid to ask.”

“Even before 2007, this half of a small island was the richest football country on earth. In 2005-2006 the Premiership's total revenue was about £1.4bn, 40 per cent more than its nearest rival, Italy's Serie A. That was before take-off. Now foreign television channels are sending so much cash that the Premiership is expected to take in nearly £1.8bn this season. Even the team that finishes bottom of the table (Wigan might be a good bet) will get £26.8m from TV. That's more than all of Argentine or Belgian football put together.”

“I just really like writing and making television shows. There are ego rewards in doing battle with other television programs in prime time in the main season. I suppose there are times when I might look at that and think that's the major league. But when you look at it, ultimately would I really want to gamble my livelihood and my ability to connect with my fan base or write a show that I really like writing, or in some cases direct a show that I really like directing, for the sake of winning an ego battle? It's totally not worth it. That stuff is so ephemeral.”

“But television affords you, what you just described, to - over the course of 18 hours, now that we're doing a third season - tell the story of this man. You're not under any obligation, really, to do massive expositional stuff at the beginning. You're at liberty to say, "Come with us on this journey," and, gradually, you become aware of what his motivations are, what drives him, what his weaknesses are, what his strengths are. That's what I think's sucking people into these worlds, because it is kind of like a novel, you just go really, really deep.”

“For those of us at Marvel Television, it always begins with the story. It's all about the script. It's making sure it's there, on the page. So, we needed to go to a group of individuals who have not only created some of the most memorable animated characters, like Ben 10 and Generator Rex, but also had done two seasons of our very successful Marvel's Ultimate Spider-Man series, and that's the Man of Action guys. But, it wasn't just that.”

“The scripts for Marco Polo are absolutely, positively fantastic. The challenge of making that show in China has proved to be as formidable as we feared. It's not like making a movie in China where, once you load up and you leave, you're gone. We have to be able to come back and capture something that's going to feel like a major feature film, on a television budget, and do it, hopefully season after season, so we are taking more time than the producers thought.”

“It's [Into the Badlands] something that's very, very different and I think that's why it divided critics initially because they didn't understand it or get it. They didn't understand or have a knowledge of what we were trying to do. Bringing in the Asian martial arts aesthetic to American television. For us, these are the people who will make the show a hit or a failure in future seasons. So it's for us to respect them and interact and see what they have to say.”

“We try to use obvious Canadian touches whenever we can, and I'm really proud of the way we use Vancouver for its production value. Nobody is pretending that we're not shooting in Canada, which is really important to me. The other wonderful thing is that ABC has bought us, but they air us after CTV has had the full season air on Canadian television. That's another thing that I think is really a nod towards the importance of us acknowledging our own industry.”