A Quote by Kevin Reilly
It's really the rare creator who can tell you where he's going to end the season of 22 episodes. That's not bad. That's part of the creative exploration.
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We do 32 episodes a season and will have shot 267 episodes by the end of the ninth season... It's impossible to sell that many episodes in the foreign market.
I was doing Babylon 5 season two and I was in all 22 episodes of that.
When you only do 10 episodes for a final season, every character and all of her interactions in every storyline have so much more import because it's the last time we're going to do it. It's been really helpful saying, "OK, where do we want each of these characters to end?" We have 10 episodes to do it and working backward from that, I kind of envy my friends who have always been on a cable network because this is really that great benefit of doing it this way.
I was fortunate enough to do an HBO show, 'Rome,' in which my arc was built in by historical fact, and over the course of 22 episodes, we were able to tell the stories of these people. We had a beginning and middle and end, and as we went on, you changed every week.
One thing I noticed over time is that if I got a bad review, usually the bad part of it was at the very end. I could tell that nobody read the whole review because they would just say, "It was great to see the review!" In a way, my brain shuts down at the end of an article. It doesn't really want to go to the end.
Stage work, that's all I have in my background. Wasteland was my first TV experience. Dawson's was my first long-term, I mean the entire season of 22 episodes.
How that works is our first season was the year we had a threatened writers' strike, so what we did was that instead of doing 22 episodes, we did 30. We put 10 in the bank.
You must wait until the end, and at the end of the season you can say it was a good or a bad season.
I've always had a show that went seven episodes or 13 episodes or whatever. And I've never had a show that's gone past a first season. It really is a lot of work.
The territory has changed, and a lot of really good actors want to do cable series, but they don't necessarily want to do network TV and make the commitment of 22 episodes or whatever. They find that the liberties and the creative freedoms that you get in cable is more interesting to them than the censorship of a network show.
I'm without a doubt a producer first. The lyrics happen towards the tail-end of the process, mainly because they're more stream-of-consciousness. It's very rare that I'm going to tell a really concrete story.
It's hard to tell what an entire series is going to be based on the first few episodes, or even on the first season. And it's sad because you see great casts and good ideas that don't get that opportunity to grow and show what it could turn into.
Ron Moore. He was the guy that on our show and Deep Space Nine wrote the best Klingon episodes. He wrote great episodes in general but he wrote the best Klingon episodes. I always could tell when he was going to write a Klingon episode because he was able to grow a beard really quick and I’d see him with the beard, like a Worf-beard, and I go "Ah, Klingon episode coming up!" and he goes "Oh yeah."
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
Even though the third season of Necessary Roughness was only ten episodes, they were an extremely intense bunch of episodes, especially toward the finale.
Even though the third season of 'Necessary Roughness' was only ten episodes, they were an extremely intense bunch of episodes, especially toward the finale.
