A Quote by Jenny Ryan

I actually worked on the pilot of 'The Chase' and wrote the questions on it. — © Jenny Ryan
I actually worked on the pilot of 'The Chase' and wrote the questions on it.
I had never worked in television before 'Freaks and Geeks,' and 'New Girl' is the first time since that I've worked on a series that is actually a series and not just a pilot.
I had never worked in television before Freaks and Geeks, and New Girl is the first time since that Ive worked on a series that is actually a series and not just a pilot.
I don't know how much credit I can take for 'Walker, Texas Ranger,' because I only worked on it for three weeks. I re-wrote the pilot, and then my name was on it forever.
The director of the [Grimm] pilot called me in. I had worked on a pilot called Love Bites with him, and the producers I worked on with on Hot In Cleveland, so they knew me from comedic worlds, and they wanted someone who could be light too. Because it is pretty heavy.
This pilot, by far, was the best I ever read - and I hope that insults every other pilot I worked on.
It wasn't that I couldn't write. I wrote every day. I actually worked really hard at writing. At my desk by 7 A.M., would work a full eight and more. Scribbled at the dinner table, in bed, on the toilet, on the No. 6 train, at Shea Stadium. I did everything I could. But none of it worked.
[Black-ish creator] Kenya Bariss wrote on Girlfriends. We've been friendly since then. He sent me [the pilot] and said, "I wrote it for you." But I know what that means in this industry.
I worked at 'Mademoiselle,' and then it shut, and I worked at 'GQ' for three years, during which I was freelancing. I wrote for 'Vibe.' I did music reviews. I wrote for 'Time Out.' I was desperate to get into 'Entertainment Weekly' or 'New York Magazine.' Like, desperate.
I've always said that it's like being the winner of three separate lottery tickets - getting a pilot, getting the pilot picked up, and having a show that actually lasts.
I was playing this sort of asshole actor [in The Jenny McCarthy Show]. And we shot the pilot, and it was a guaranteed go. It was going to be 24 [episodes] on the air. No questions from NBC. And we shot the pilot, and I was in Toronto doing a movie, and I got a call saying they cut the character, that I was off the show.
I had worked for ten years in theater; I had worked at Second City in Chicago. Then I got to Hollywood, and I was like, naively, 'Where's my pilot?'
I come from that earlier time in America when palm pilot was a nickname you recieved upon entering puberty! I was more than a palm pilot I was the palm Chuck Jager. Tom Wolfe wrote a book about me called The Right Hand Stuff. I was the only guy in my class hip enough to move to the European grip.
I believe in God. I got down on my knees and I said, 'I get it. If this isn't for me, then it isn't for me.' And then a week later, I started working. I worked on 'The Following,' I worked on 'Elementary,' I worked on a pilot and then I got 'Orange.' So literally from that moment of deep surrender, that's when you're blessed.
I wrote the song "Show Me" as a prayer to God asking simple, honest questions about life and death and why there is so much suffering in the world. As I grew with the song I realized I shouldn't limit these questions solely to God; I should ask those questions of others and of myself.
I've always said that it's like being the winner of three separate lottery tickets - getting a pilot, getting the pilot picked up, and having a show that actually lasts. There are no guarantees, and no one knows where a show is going to go.
If you play a role, you want to familiarize yourself with that person's world. If I were playing an airline pilot or a doctor, I'd probably want to hang out with a doctor or an airplane pilot for a while, ask some questions. You don't get to hang out the kings. They don't help consult on movies. So your resources are, by necessity, secondary.
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