A Quote by Birgitte Hjort Sorensen
In many senses, 'Borgen' was a very democratic show. I was always invited to hear the writers' thoughts for the next episodes and allowed to comment on them.
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My teacher Tom Spanbauer, the man who got me started writing in his workshop, used to say: 'Writers write because they weren't invited to a party.' That always struck so true, and people always nod their heads when they hear that. Especially writers.
I've always had a show that went seven episodes or 13 episodes or whatever. And I've never had a show that's gone past a first season. It really is a lot of work.
It's a very different show because of the elements that we're putting in. There's so many different styles of comedy, but Mr. Show was unique to Bob and David - two of the most brilliant performers and writers there are. Their show was based on them. Our show is a bit more broad. We have a cast of 7, we have guests. We can be slightly more topical.
A ghostly side note Soldier boy Miller played a Lucifer-like character in the final two episodes of Joan of Arcadia. Coincidence I do find it strangely poetic, ... that a character who shows up on a show about God to play something kind of satanic winds up in the very last two episodes of that show, and then appears in the show that replaces that show on its exact time and night the following season.
I respect the hell out of everyone who does a network show. That is a marathon. It's so many episodes, and it can be a meat grinder. Anyone making a network show, and on top of that making a very good network show, that's an insane feat of Herculean endurance and fortitude.
I travel around and hear from so many kids. Their parents say they were always very picky but they watch the show and they want to try stuff. The show is entertainment, but I think it has done so much for the public perception of what food can be.
I am not in touch with other writers. I don't have very much contact with other writers. I don't get invited to these things or I don't go to them. I hate panels. I speak to librarians and to conferences of English teachers. That's what I do: teachers and librarians. And high school kids.
I always had a sense of people and would talk with them. I talk to my doorman. I talk to everybody I work with. I enjoy it. I like being part of a real life. I love dreams. I love glamour. I love being invited to great places. But I don't really care if I go, as long as I'm invited. I get invited to so many things, but I'd rather go have a hamburger or see a movie.
Like any show, I think some episodes are going to be stronger than others, but I think it's a good show that people enjoy and I hear the reactions too.
I suspect we have internal senses. The mind's eye since Shakespeare's time has been proverbial; and we have also a mind's ear. To say nothing of dreams, one certainly can listen to one's own thoughts, and hear them, or believe that one hears them: the strongest argument adducible in favour of our hearing any thing.
Many theaters are tackling the multifaceted work of black writers - established and emerging. Now the next step is for them to bring in audiences of color and continue to go out to our community and create a continuous connection that extends beyond the one black show in the season.
You never know when you're on a show if you're actually going to love it. For the episodes that I'm not in, I read them, but I try to just forget it, as long as it isn't important to my character. That way when the episodes air I get to watch it like a fan and actually enjoy it.
We do 32 episodes a season and will have shot 267 episodes by the end of the ninth season... It's impossible to sell that many episodes in the foreign market.
In animation, you may be working with 20 writers, and everybody has to write the same thing. You can't have episodes that don't feel like they belong. In comics, you're gonna write a whole run, which means it's your style that's coming through. But when you're working on a show that's collaborated with a dozen other writers, you have to have a style that blends the show together. So you can't write it the way you normally would, because your script will stand out from all the others.
Media were never allowed into an Australian dressing room until I became skipper. I changed that and invited them in at the close of play each day, thereby confirming for many administrators they had appointed a madman as captain.
The whole ecosystem of celebrity has broken down for writers. If you go back to the '50s, '60s, and '70s, writers were on TV a lot, and they were allowed to misbehave a lot. Truman Capote was a pop figure, but it wasn't until he went on David Susskind's show and had that extraordinary voice and manner that everyone could imitate, that he really took off as a figure. Norman Mailer and Vidal, the same thing. The bestselling writers now, there's no great animal energy with them.
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