A Quote by Beth Henley
I'm very into the first production of the show.
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My very first real job in the industry was as a production assistant on a show called 'Infinity Factory' in 1976.
I definitely want to start my own production company at some point. I'm actually teaming up with Funny or Die to put together a TV show right now, that I can't really talk about because it's still in the very preliminary stages, but if it pans out this will be the first project under my production company, which I have yet to name.
There are not that many people who can say they have been on a show long enough to leave it. Usually, you don't have a choice. The show gets canceled. There are very few people who live in the rare air of being able to leave a show while it is still in production.
'The X-Files' from the beginning was a very visual show, and with Bob Mandel directing the pilot and Dan Sackheim being involved in the production of the pilot and directing the first episode, they brought a visual style to it that was elaborated on by so many good directors.
It's much, much harder working on a show than it is working on a movie. It really is. Even if you're in production, that production lasts for a set period of time. A TV show goes on for months and months and months.
When I made my first record, I was very naive, and I didn't know much about production, and I had a very basic amount of equipment, and I was just digging through vinyl for samples in a very old-fashioned way. It was very loop-based and very cut and paste, and that's the way I started out.
'Cuban Fury' was a big production for a first time director to handle: I think it is very easy to become very stressful and for it to get the better of you.
The First Industrial Revolution used water and steam power to mechanize production. The Second used electric power to create mass production. The Third used electronics and information technology to automate production.
In production, in the first couple of weeks of production, that it was more like making an internet musical.
You show me a polluter, I'll show you a subsidy. I'll show you a fat cat using political clout to escape the discipline of the free market and force the public to pay his production costs.
I don't know much about writing a show or being a show-runner on a show, but I can only imagine that when you first cast a show and you first do a pilot, there are so many components that you're throwing into the mix and you're not sure how they're going to develop.
If you say "the economy," you show you're stupid. There's no such thing as the economy. There is not a unity between the forces of production and the relations of production.
Suzanna Collins was very supportive, but we very much wanted her blessing on casting. In production, she visited us once, but she really was not involved in the production process. She's seen the Hunger Games movie twice, in the post-production process, once as an early cut and then once when it was finished.
I got one letter at the very beginning, like, in the first season, saying - from a woman who was very religious, very Christian, saying how wrong she thought the show was, but she thinks it's the funniest show on television.
'One Tree Hill' will always be very, very special to me. It was my first television show. And my first gig in the business. It was surreal. I booked the role when I was 13. I had just started high school, and literally, I think, a week into high school, I found out I got the role. It was unimaginable! I learned so much from that show.
It's our approach to treat each show like an arena show. We over-invest in production to make the stage look bigger, turning the show into an experience and not just somebody standing around with a microphone rapping.
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