A Quote by Jenna Fischer

Sometimes doing a movie for a short period of time is better than committing eight months to a television show. — © Jenna Fischer
Sometimes doing a movie for a short period of time is better than committing eight months to a television show.
It's much, much harder working on a show than it is working on a movie. It really is. Even if you're in production, that production lasts for a set period of time. A TV show goes on for months and months and months.
If you have five weeks to write an episode of television or seven months to write a movie or several years to write a book, each of those things is going to be better than a live television show.
I like to do a movie, to be on it 8, 10 weeks. It evolves as you're working on it. Little things come to you every day. It's a slow process, and when you have to pack it into a short period of time, which you do for television, the experience is not one that I cherish. So if it's going to be television, it's really got to be the right thing.
Sometimes when the song is right for that time period, it's just kinda bad to let it wait, and then when you do release it eight months down the road, it's not the same.
We were on the island of Hawaii. I think I was there three months. It was fantastic. It is not much different than films. It depends on the television show but much of television today is as good or better than most films.
The idea of doing a period movie, some people say, "Isn't it odd that you're doing a period movie? That's a change of pace for you." And, I'm like, "Not really." When you're doing a science fiction movie, it's almost exactly the same.
I did eight months of training for 'Wimbledon,' and then, by the time I finished the movie another four months later, I was like, 'That's me. I'm done with tennis.'
You can feel better about yourself in a very short period of time depending on the kind of magic that you are doing.
You do a movie. However long it lasts, it begins and it ends in a relatively short period of time. In a given period of time, let's say a year, you can have three, four, or five different experiences which is exciting.
My temperament is not the adventuresome sort that enjoys starting new projects every six months. I love ensemble, nine-to-five stability. There's a family dynamic in making a television show that you don't get on a movie, where you're a hired gun for a few months.
'24' is such a unique show. I've done a lot of television, but the real-time aspect - where we're shooting over 10 months and actually only doing one day - it's just crazy.
After doing kid's television on CBBC and messing around with eight and nine year olds, there was a period of three years in the middle of that when I wasn't doing anything. I was working as a receptionist and in a pub; I was a cleaner and all sorts of things. All life has its ups and downs.
In the course of carrying through our program for which we have calculated four years, two and one-quarter million out of six million unemployed have already received employment again within a period of eight short months.
I think the advantage we had with "MacGruber" is the speed we had to put it together. We had a such a short period to write the movie and such a post-[production] period, it was almost like the way that the show worked, where everything is happening so fast you have to go with your gut.
I think often people fall into the breadth trap of wanting to do too long a period of time, and obviously there's this sort of algorithm of how much depth you can put into something times how much of their life you're trying to show. My attitude has always been, I'd rather show a briefer period of time in more detail than a longer period of time in less detail.
I'm doing stand-up comedy. I'm working on a one-woman show about how I don't like my baby. There is a period of time where a baby is born where the next 3 months is harrowing. A lot of people say it's the most wonderful time, but for me it was harrowing.
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