A Quote by Drew Roy

In my opinion, visual effects are great when it compliments a good story, and action is great when it compliments a good story, but just to have them for the sake of having them, it gets a little boring, especially if you're talking a TV series. At least with a movie that's an hour and a half to two hours, you see it and you're impressed, and then you're out. With a series, if it's only that, week after week after week, there's nothing there to bring you back. You have to get invested in the characters and care about them and want to follow them.
WrestleMania is a week-long series of events, and the logistics of executing that week along with the week leading into it and the week after it are extraordinarily difficult in our own back yard.
I teach a 14-week semester, and one of the things I do when I have to teach literature is, for the first half hour of the class, I have the students write the beginning of a new story every week. At the end of the semester, even if they have learned nothing about literature, at least they'll have 14 beginnings that they can take with them.
Having the security of being in a series week in, week out gives you great flexibility; you can experience with yourself, try a different scene different ways. If you make a mistake one week, you can look at it and say, 'Well, I won't do that again,' and you're still on the air next week.
I don't trust compliments. I've been getting them for years. Sometimes I deserve them, sometimes I didn't. But generally when people give you compliments there's one of two things wrong with them. Either they're false, or what's worse is they're sincere. They really mean the compliment. And then they're offering you their loyalty. And I'm kind of a stingy... Well, I don't necessarily want to give all that loyalty back. So either way, let's skip the compliments.
A typical TV show is always about protecting the franchise - it's all about stretching it out as long as you can take it. And it's about taking the characters in any given hour as far as you can take them, but then resetting them more or less back to zero so at the beginning of the next week, so they're still the character you know and love.
That's what I've always loved about music, that I could go be another guy for two hours. But ultimately it all comes back to: do you have the songs, can you sing them, do you have a great band that can play them with you? You're charging money to have people come watch you play; I want them to feel taken someplace good or provoked into thinking my way for an hour and a half or two hours. I have been a provoker and I'll probably always be one in the public arena for the rest of my life.
It [TV] is the cancer of film. It's why people can't be educated to film. In the late '60s, we expected to see a movie or two every week and be stimulated, excited and inspired. And we did. Every week after week. Antonioni, Goddard, Truffaut - this endless list of people. And then comes television and home video. I know how to work exactly for the big screen, but it doesn't matter what I think about the art of movie-making versus TV.
One week, you're facing Daniel Bryan, and next week, you're teaming with AJ Styles. You're in the ring with the best in the world. Part of me wants to tell myself they don't just put anybody in the ring with them. I obviously want to be as good as them, and I feel like I can be and I can hang with them.
wishes for sons by Lucille Clifton i wish them cramps. i wish them a strange town and the last tampon. I wish them no 7-11. i wish them one week early and wearing a white skirt. i wish them one week late. later i wish them hot flashes and clots like you wouldn't believe. let the flashes come when they meet someone special. let the clots come when they want to. let them think they have accepted arrogance in the universe, then bring them to gynecologists not unlike themselves.
It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.
Having great friends in New York is like having great friends on an expedition into Darkest Africa in the early 19th century. You need them. And you need sponsorship on a daily basis. I have a painter friend here who says, 'I need two compliments a day just to break even.' And we gave them to each other, and we got them - and honestly got them.
On Sundays, I like to plan how I want to exit the week and what are the key things I need to get done that week. I list them, and then I do check-ins on them each morning.
You know you're in love with somebody when you wake up next to them, comfortable despite your breath smelling like the week-old water at the bottom of a vase, when you are terribly excited to see them, to talk to them again, having missed them after all that sleep.
People love that kind of beginning, middle, and end. They like that comfort of turning on the TV week-to-week and being entertained with a good story. There's nothing wrong with TV franchises because, first of all, they're successful. They just make people feel good and hopefully make people think about other people.
There are 168 hours in a week, and even if you're working out two, three, four, or five times a week for an hour, you're still not working out at least 95 to 98 percent of the week. So it's what you do during that time that's far more impactful than what you do in the gym.
We just keep making the shows that we love, and the good news is that we can never rest on our laurels, knowing that we're going to be on forever. We're constantly challenged to write the very best story that we can, week in and week out, hoping that that will allow us to keep telling more of them.
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