A Quote by Joel Hodgson

But after that, I was extremely happy with the story and the look of the show at the beginning of season two - everything was working together. I felt like it was finished conceptually.
When I was working on The Wire with the other actors, scene after scene after scene, I felt like we were singing together. We were dancing together. I'm like, "This is the best ensemble I've ever worked with. I'm working with these cats? Holy mackerel, this is heaven."
People really feel the need to share how the series has touched their lives, and that's been very moving. We're enormously grateful to the fans of the show. They've been extremely loyal to us season after season, and they make it all worthwhile.
When I won the Super Bowl I thought I was going to be, like, extremely happy. But then I really just felt like, 'Well, this is it?' I felt like I got bamboozled.
I've always said at the beginning of every single season of the show when I was running the show in the writers' room, "This is the last season, so let's smoke 'em if we've got 'em."
Shortly after I finished chemo, but during my 12 weeks of radiation, Lennon and I returned to work on the third season of the show we write, produce and star in, 'Playing House.'
I'm extremely excited about working with Troika on 'The Hive.' This script has two elements I always look for in a thriller - strong, believable female characters and a smart, very dark and very creepy story that will definitely resonate with large audiences.
I felt really happy to be able to film together with Korea's most beautiful actress. Everyone thinks it's because of her outward appearance that Song Hye-kyo became famous, but after working together, I realized her inner heart and personality are also good. Moreover, she has lots of acting experience, and I actually did learn a lot from her.
The London season is like one of those Drury Lane melodramas in which marriage is always the ending. And no one ever seems to give any thought as to what happens after. But marriage isn’t the end of the story it’s the beginning. And it demands the efforts of both partners to make a success of it.
I can remember the moment when I suddenly felt that the camera was a living partner. I suddenly felt this is art, and the camera is a co-operative living person. After that I was extremely happy to act in films.
When you have an ensemble where characters pair off so easily, it becomes extremely isolating in the story world. You can end up with two actors who have not seen each other face to face all season long.
Do you still look at each other like you once did, back at the beginning of the story when everything was a question you were too afraid to find the answer to?
With Sugarland, it never felt like we were finished telling our story.
Thankfully, the meat of the Tony telecast is the performances from the shows, so the awards show kind of creates itself around the season, and then I fill in based on the vibe of the season in general. I'm happy that there'll be so many legitimately good performances on the show.
And I think that at a certain point, after all the time and all the conjecture and everything that had kind of gone on surrounding this show, I think that Mitch just felt like it was time to let it go. It was best for the show.
Shortly after the end of last season, I felt that I probably would not return for the 1999-2000 season. I also felt that I should take as much time as possible to sort through my feelings and make sure that my feelings were backed with conviction.
I feel confident that we will have a beginning, middle and end, in this season, and it was wise of NBC to then call it what it really is, which is a mini-series. "24" is a really good example, in that there was a definitive beginning, middle and end for the first season. They had a slightly different format than we have, but the second season just retained Jack Bauer and a few other players, with the same basic format and idea, but it was a completely different show.
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