A Quote by Jim Rash

In television, the writer-creator-showrunner is embraced as the creative mind. — © Jim Rash
In television, the writer-creator-showrunner is embraced as the creative mind.
You become more divine as you become more creative. All the religions of the world have said God is the creator. I don’t know whether he is the creator or not, but one thing I know: the more creative you become, the more godly you become. When your creativity comes to a climax, when your whole life becomes creative, you live in God. So he must be the creator because people who have been creative have been closest to him. Love what you do. Be meditative while you are doing it – whatsoever it is
The war between the artist and writer and government or orthodoxy is one of the tragedies of humankind. One chief enemy is stupidity and failure to understand anything about the creative mind. For a bureaucratic politician to presume to tell any artist or writer how to get his mind functioning is the ultimate in asininity.
The way that TV is set up is very helpful for when a show comes to an end because as an actor, you've got acting, but as a showrunner you still get to edit for three months and after that ends you get to do a sound mix. So, as a writer-performer in television, it's a very nurturing, gradual environment to say goodbye to a show.
In television, the 60-minute series, 'The Wire' and 'Mad Men' and so on, the writer is the primary creative artist.
There's nothing more powerful to a showrunner than a truly invested writer.
When you work in a writers room for a showrunner, you serve that story, and you serve that showrunner. I don't think it should be called writing; I think it should be called rendering content. Because you are there to render the content that is agreed upon in the room, and you're serving the voice of the main storyteller, which is the showrunner.
For you to make your creative work creative, you must seek creativity from the creator.
My mom is a teacher, my dad was a writer for television, his dad was a writer for television, and combining those two has been sort of the goal of my life.
I wanted to be a writer first, and I struck out in the world to be a writer first, and then found stand-up as a more creative outlet, as a 3D way to be creative.
I'm not going to be one of those people who says, 'I'm a showrunner; I'm not a black showrunner.' I'm black when I go to sleep. I'm black when I wake up, period. It doesn't affect my perspective on everything, but at the same time, it's who I am, and I'm proud of it.
What I'm about to say won't be popular, but it's true: If being a television showrunner is the job you want, and you are a woman, I would not suggest you have children. The reality is that you just cannot do both well.
A "showrunner" as a position is a relatively new thing. It used to be the executive producer. That's not true anymore. Now it's evolved into this model where people look to showrunners and say, that guy is that show. It's just become a lot more interesting to know the showrunner and to get a sense of that person.
If I'm writing and doing music celebrating the Creator, who is the most creative being in the world - I mean, when you look at nature and when you look at all of the beautiful created things - why should I be limited in expressing myself? He's creative, so why shouldn't my music be creative, too?
If you're creative, they let you be the showrunner, producer. The first thing my partner and I did as producers was hire ourselves as directors - because who else would hire me?
I really believe that if I were not a writer, not a creator, not an experimenter, I might have been a very faithful wife. I think highly of faithfulness. But my temperament belongs to the writer, not to the woman
The showrunner relationship in television is what the director relationship in film, there's really no more important relationship.
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