A Quote by Greg Berlanti
There were moments where Supergirl gets a thrashing in the pilot, where if a man in the 'Flash' or 'Arrow' pilot got beat up, people didn't visibly wince. And I watched in testing, people in the audience really became uncomfortable by the fisticuffs and the action. But then, they were elated and cheering at the end.
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I started to book good television jobs in 2010. I started to get really close to exceptional jobs in 2011, and then I got 'Arrow' in 2012. I know how lucky I am because just getting the lead in a pilot doesn't guarantee that that pilot is going to turn into something great.
For the last four or five years, I had been in the position where I didn't have to take a pilot. I took this one because the script and the people were terrific. It never frightened me. As we were doing the pilot, I could tell that it was working.
Nothing's worse than telling your family you got a pilot, hearing the pilot got picked up, and then finding out it's not in the fall lineup.
I got my first pilot license, an airplane private pilot license, in 1997 for the purpose of going to pick up my kids, who were living with their mother in Arizona, and I was in L.A. It was easier than to put them on a commercial flight. It was purely practical.
I grew up and I kind of took the road of becoming a pilot, which was another dream I had of flying, and once I did attend the air force academy, that dream of flying became more like a project, and I wanted to be a fighter pilot, which I did. I became a fighter pilot.
What I do know is how difficult it is in this industry to get a show on the air. There's so many different stages: getting a script bought by the network, then getting a pilot made and having that pilot go to series, and then, when that series gets on the air, having people watch it.
It would be nice to be a professional pilot. I'm an amateur pilot at the moment. I've got a lot of friends in the RAF and I don't think I've ever met a group of people who love their job as much as they do.
It's always interesting for me to watch the pilot of an established show because you see how the writers and actors weren't really sure what the show was and what the dynamics were. If you look at the pilot for 'Seinfeld,' for example, it's practically unrecognizable.
From an actor's point of view, you never really like to hope that anything will go beyond the pilot. I'd always say to my agent every time I filmed a pilot, 'Great! Well, I'll see you at pilot season.'
There was so long from when we did the pilot and then when the show was eventually picked up by Comedy Central - and, in fact, we had to shoot the pilot twice.
I first came to LA auditioning during pilot season. I didn't really know anyone. The only people I'd meet were the girls I was up against at auditions. It wasn't the friendliest bunch.
One of the best decisions we made on the 'Arrow' pilot was to have the Deathstroke mask. Within 30 seconds, you knew you were watching a DC comics show.
I grew up in a family where I was told there were no limitations on me as a girl and I could be anything I wanted to be. It wasn't until I joined the military that I realized that just because I was a woman - just because I had ovaries - I couldn't become a fighter pilot.These structural limitations were the motivation for me becoming a fighter pilot in the first place.
The 'Smallville' pilot is the one I get a lot of attention for. I did a couple of earlier ones, but the 'Smallville' pilot is the one that got things really rolling.
The moment when you find out when you shoot the pilot - getting the pilot is a small victory. You shoot the pilot, and when you get picked up, that's a huge victory right there.
Songs used to be short, then they became longer, and now they're getting shorter. But otherwise, music is about a beat and a message. If the beat gets to the audience, and the message touches them, you've got a hit.
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