A Quote by Linda Cardellini

There are not that many jobs as an actor where you don't get to know what your character will be doing from episode to episode. — © Linda Cardellini
There are not that many jobs as an actor where you don't get to know what your character will be doing from episode to episode.
There's this thing in TV that I find hysterical where the writers and creators will ask us if you want to know what happens to your character or if you want to experience it episode by episode. In the theatre, we always know the ending; we always know where the character is going.
What I've learned in my career as an actor is that you're only as good as your collaborators. The process is many things, but it is wholly collaborative, particularly with something like 'Westworld,' which is a 10-episode-per-season gig, and we're just now on the 7th episode.
Television moves so fast. A series moves at such a rapid pace and things are changing, episode to episode, where you're going, "Wait, why am I doing this? This last episode, you told me I was doing this." You're shooting at a moving target.
I was talking to Shonda Rhimes the other day and I said, "I. Do. Not. Know. How. You. Do. This." While we're writing episode 10, episode 6 is shooting, episode 3 is in the edit, and episode 2 is in its color session...You've got seven episodes in different parts! It's a wild, wild, wild ride, which I thoroughly enjoyed. It was badass and amazing.
The last episode of Dallas was in '1991.' Unfortunately, it was a terrible episode to end the show on: it was a sort of 'It's a Wonderful Life' with Larry as the Jimmy Stewart character. In that episode, I was an ineffectual-schlep kind of brother, who got divorced three or four times and was a Las Vegas reject.
We do want the freedom to move scenes from episode to episode to episode. And we do want the freedom to move writing from episode to episode to episode, because as it starts to come in and as you start to look at it as a five-hour movie just like you would in a two-hour movie, move a scene from the first 30 minutes to maybe 50 minutes in. In a streaming series, you would now be in a different episode. It's so complicated, and we're so still using the rules that were built for episodic television that we're really trying to figure it out.
If you're an English actor, and you're asked to do an episode - especially the Christmas episode - of 'Downton Abbey,' you can't turn it down. It's like, 'Of course!'
I wrote Steve Carell's last episode. I think it was a really good episode, but there's always a tension between what's good for the series and what's good for an episode, because the more closure you put on an episode, the more significant feeling it is.
In a film you only get two hours to do this big arc and so you have to pick and choose your moments carefully, but with television you get to take your time and just take it episode by episode and discover new things.
For the third season, we do a sit around on one episode where we were in character and then we commented on one episode just being ourselves, so - not really. I was comfortable, though. I wasn't nervous.
The one thing that we wanted to make sure in the pilot [of "Mary and Jane"] is that we could go everywhere. Part of the fun of them being a delivery service is that they go to different areas episode to episode. We do have an episode in the beach and there is an episode in the luxury rehab. It's all different kinds of things we are making fun of in LA.
It's interesting the whole Kardashian thing with 'Offspring' because really my choices - with my costume designer - for every single episode are based on the emotional journey of that episode for the character.
You can watch an episode of Friends or an episode of Law & Order and just drop in, but you're not going to in the middle of Season 4, Episode 5 of Lost. It's like picking up a Harry Potter book and flipping to a chapter. You have to read it from beginning to end.
If you just stay with it and take it scene by scene, episode by episode, all of the questions that I have, as an actor, tend to answer themselves.
Everything with Marvel is on a need-to-know basis, so I didn't officially know until the second episode I did, which I think was the 10th episode in the season. Information is carefully guarded over there. I definitely didn't know that I was 'Deathlok.'
The Netflix brand for TV shows is really all about binge viewing. The ability to get hooked and watch episode after episode.
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