A Quote by Chris Burke

I don't complain, say, 'I can't do this, I can't do that.' You don't do that with a big professional director. If you do that, you won't be able to do TV. — © Chris Burke
I don't complain, say, 'I can't do this, I can't do that.' You don't do that with a big professional director. If you do that, you won't be able to do TV.
A film can be big or small - I have to just fall in love with it. To connect with the character, the script, and the director. Sometimes they say to you, 'You should do that for your career; it's a big thing, people will go and see it,' but I wouldn't be able to, because my heart wouldn't be in it. I would drive people quite mad.
Usually in TV... A TV director could be anything from a main grip to just a glorified cameraman, and sometimes a director can be the person who is hired last. It's very much a producer's medium.
I complain about my life. I used to complain about boys or not being able to drive or failing a test. Now I complain about boys, not being able to drive, and leaving home so much.
I think the director is becoming more important. To work under rushed conditions, you need to have an extremely professional director. If the director's good than the end result will be good.
After a while some of the houseguests at Big Brother can become a little bit high maintenance so they're going to find everything to be irritating. We don't really try to show it on the show. How interesting is that? But we can make a funny story out of it when they complain, complain, complain.
I hope that in another way we can move the need to say, instead of being a Black director, or a woman director, or a French director that I'm just a director.
I'd like to be able to be like a director, like Richard Brooks, say. And be able to say, 'I did my best, and this is it, and there's nobody to blame but me.'
A big part of my book deals with the caliber of journalism. Our journalism in general is deplorable, and on elections in particular it's very ineffectual. There are a lot of problems, a lot of them having to do with to problems within the professional code of journalism, which defines its role as the regurgitation of what people in power say. Another big problem is that we allow people with money to basically buy what's talked about in campaigns through running TV ads.
I kid my friends who are golfers, and I say, 'If you ever hear me complain, hit me in the butt with a putter' because I have no reason to complain. Even on days when you don't like what you see in the paper, I have no reason to complain.
It is perfectly possible to be a professional director or a professional writer and not to be an artist: merely a sort of executor of other people's ideas.
The better players need to be out there in front of a big crowd, the TV cameras, with the adrenaline going. That is a test for any player to be able to do it on the big stage.
I took opportunities, big or small, to show that I was a constant professional. I feel like the Sam Jackson of network TV drama.
One of the things that's really fun to tap in with television right now is this sort of explosion, the peak TV moment that we're in, people are exploring different modes of storytelling here. But one of the exciting things here is being able to commit upfront to a big, big, big story.
I say it was like this accidental research that I did for eight years. I had no idea I was researching the role of my career. But yeah, and there was this one casting director named Allison Jones, and for five years she would call me in every year for a different TV show and she just really was a big supporter of mine.
I can't say that I have ever been fanatical about a show. To be honest, I'm not a big TV watcher. When I do watch TV, I watch the news.
Some people complain there are too many people on earth, Some people complain about secret societies, Some people accuse others of not being able to wake up early. Almost all people complain about something.
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