A Quote by Eric Kripke

When you do 22 episodes of a network show, it's incredibly useful to have a format that gives you a jumping-off point for a story. — © Eric Kripke
When you do 22 episodes of a network show, it's incredibly useful to have a format that gives you a jumping-off point for a story.
The territory has changed, and a lot of really good actors want to do cable series, but they don't necessarily want to do network TV and make the commitment of 22 episodes or whatever. They find that the liberties and the creative freedoms that you get in cable is more interesting to them than the censorship of a network show.
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.
We have to have humor to survive 22 episodes a year of network television.
BoJack' is a very much a format-based show. The story should always match the format, but I don't necessarily think the story has to come first.
I've been on my share of network dramas and comedies, and the problem sometimes in a network is they have a single-minded focus on making the show true to whatever genre it is. If you're on a drama, it better be procedural, it better fulfill all the demands of a procedural show, and you better keep those episodes independent, so if I'm watching the show in seven years as its syndicated on some other cable network, I don't have to know what happened before or after the episode. If you're on a comedy, everything has to be funny and wacky and zany.
Being in the industry, I've seen many situations where someone will get the call from the network where they say 'You guys have 5 episodes to wrap it up.' Then all your long-term story arcs gotta get wrapped up in five episodes because that's how many episodes you got left. I would hate to see that happen to 'Castle'.
It's great to try another format and be part of telling a story over ten episodes.
People have outs for numbers of episodes, usually, written into their contract. Some studios will say, "We're going to let Julia Louis-Dreyfus off of Veep to do three episodes, but not three episodes of the same show." But, that's all business affairs, so I'm talking over my head here.
I think that sometimes kids use the show as a jumping off point for talking about things with their parents.
Obviously, it's not cable, it's streaming, but it's the same format. It's the same 10 episodes. It feels like cable as opposed to network.
There is no point in appearing in just a few episodes. If I do a show on television, it won't be for a few episodes only.
If you look at 'American Horror Story' or 'Crime Story,' these are visceral, action-packed, sometimes bloody episodes of television. They're not 'feminine.' They're not about sexy women sitting around looking beautiful, drinking lattes. These episodes are calling cards to show companies like Marvel, 'Look, women can do these kind of movies.'
When I auditioned for 'Jessie,' I knew that Disney Channel basically will do 100 episodes of a show if it's a hit; they'll stick with something. It's a great network to work with because they make a nice big commitment to a show.
There are certain economics involved in making a network TV show that you want to amortize the costs of that, so the more episodes you make, the cheaper they all are individually.
I have to tell you, TV is an incredibly difficult medium. The most challenging show to do is the hour long dramedy. It's a very tricky format.
I feel incredibly passionate about 'Bunheads,' but the network was not supportive of the show, and you have to have that.
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