A Quote by J. August Richards

Everything with Marvel is on a need-to-know basis, so I didn't officially know until the second episode I did, which I think was the 10th episode in the season. Information is carefully guarded over there. I definitely didn't know that I was 'Deathlok.'
I was talking to Shonda Rhimes the other day and I said, "I. Do. Not. Know. How. You. Do. This." While we're writing episode 10, episode 6 is shooting, episode 3 is in the edit, and episode 2 is in its color session...You've got seven episodes in different parts! It's a wild, wild, wild ride, which I thoroughly enjoyed. It was badass and amazing.
I didn't get paid to write professionally until my first episode of 'Kyle XY,' which was the fourth episode of the first season.
'Kaafir' is an eight-episode series; but while shooting, you really don't know which part is for which episode.
There's this thing in TV that I find hysterical where the writers and creators will ask us if you want to know what happens to your character or if you want to experience it episode by episode. In the theatre, we always know the ending; we always know where the character is going.
You can watch an episode of Friends or an episode of Law & Order and just drop in, but you're not going to in the middle of Season 4, Episode 5 of Lost. It's like picking up a Harry Potter book and flipping to a chapter. You have to read it from beginning to end.
There are not that many jobs as an actor where you don't get to know what your character will be doing from episode to episode.
You know what, despite my complaints about The Phantom Menace and Episode II, when Episode III comes out I'll be first in line. I genuinely love it.
The second episode of any new show can be tough. You have about a week to top the well-crafted and polished pilot episode that was written over six months.
You just never know what the grand plan is on 'Dexter,' so I didn't know if I was going to make it to the next episode, let alone the next season!
I wrote Steve Carell's last episode. I think it was a really good episode, but there's always a tension between what's good for the series and what's good for an episode, because the more closure you put on an episode, the more significant feeling it is.
I never watch television, although, the other night, my wife and I caught an episode of 'Buffy the Vampire Slayer' from Season Six. It's the only series of which I've ever watched every single episode.
When movie people go over into television, it's a little bit of a shock. It's much faster-paced. Everything is really last-minute. You won't know your schedule for the next episode until the last minute.
What I've learned in my career as an actor is that you're only as good as your collaborators. The process is many things, but it is wholly collaborative, particularly with something like 'Westworld,' which is a 10-episode-per-season gig, and we're just now on the 7th episode.
I love my situation as a spectator. The actors are only a little bit ahead of the audience. The audience discovers the episode when it's screened, but we actors only discover the episode when we get the script, two weeks ahead of shooting. Until then, we know nothing of the evolution of our characters.
If you do an episode about something like transverse myelitis, it's a real disease that's out there, there are a lot of people that have it, and it's hard to get funding for them because people don't know about it. There are actually a lot of doctors that don't know about it. But if you do an episode of House, all of a sudden 15 million people are hearing the words, and it's an opportunity.
I did an episode of 'Entourage.' I played Morgan - I think it was season three or season four. It was actually my third audition, and it was my first big job.
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