A Quote by Marc Cherry
I created a tone for network television that they hadn't really been seen before. And I have to admit that was really more of an accident. I was just writing the way I write.
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I just see many, many untruthful things. I see tone, the word tone. The tone is such hatred. I'm really not a bad person, by the way.The tone is such - I do get good ratings, you have to admit that.
With the rise of cable, network is clearly floundering because the characters on cable are far more fascinating than they are on network. Network television is trying to figure it out. Network television really relies on story rather than character, and cable relies on character.
I just really like writing and making television shows. There are ego rewards in doing battle with other television programs in prime time in the main season. I suppose there are times when I might look at that and think that's the major league. But when you look at it, ultimately would I really want to gamble my livelihood and my ability to connect with my fan base or write a show that I really like writing, or in some cases direct a show that I really like directing, for the sake of winning an ego battle? It's totally not worth it. That stuff is so ephemeral.
Bin Laden wasn't all that central to the terrorist network any more, but taking him down created a kind of national catharsis. It's been a really, really long time since we had something to celebrate that didn't involve a sports team. I'd rather it had been a non-death-related occasion, but we'll take what we can get.
When I first started writing, there was no way I'd write a sex scene. That just seemed impossible. That's why in "Fight Club" all the sex happens off-screen. It's all just a noise on the other side of the wall or the ceiling. I just couldn't bring to write in a scene like that. So one of the challenges with "Choke" was I wanted to write sex scenes until I was really comfortable just writing them in a very mechanical way.
I'd always thought that 'NYPD Blue' really would open those doors. While I think it created a much broader template for cable, I don't think it really did that much for network television.
I really need to know where I'm going with fiction to write it in a way that at least I'm happy with. And I really think that a lot of fiction books end badly because terrific writers said, "I'll just figure it out" and plunge in, but have created so many problems that they are kind of impossible to solve. I mean, I'm talking really good writers do this and you can tell when they got to the end they either had to do something preposterous or they just don't really resolve things. So for fiction I spend a lot more time outlining and for humor I really don't do much of it.
The power of network television is amazing. I've been performing for years but have been seen on only a few episodes of this show, and people spot me in public now all the time. They say, 'Hey, aren't you on 'Nashville'?' Most locals seem to really appreciate how authentic the show is.
I hadn't done comedy before 'Fresh Meat' - I hadn't really been seen that way, and then 'Fresh Meat' came out, and suddenly a lot more comedy scripts were coming my way, which was really great.
I've been writing for a long time, since the late '60s. But it hasn't been in the same form. I used to write scripts for television. I wrote for my comedy act. Then I wrote screenplays, and then I started writing New Yorker essays, and then I started writing plays. I didn't start writing prose, really, until the New Yorker essays, but they were comic. I didn't start writing prose, really, until the '90s. In my head, there was a link between everything. One thing led to another.
Movies have gotten dull, the way network television got dull. And television, if we can still even call it that, is still really exciting and riveting and people are totally into it. I am always meeting people who have these favorite shows that they are completely wired too and not only have I never seen it but I don't even know how to find it.
In 'Chernobyl,' which was created and written by Craig Mazin and directed by Johan Renck, the material culture of the Soviet Union is reproduced with an accuracy that has never before been seen in Western television or film - or, for that matter, in Russian television or film.
There's no really other way to learn writing than by writing. So accelerate that as much as you can. The more you write, the better you'll get. What also helps, though, is walking away from broken stuff. Not everything's going to work. Killing two years of your life trying to resuscitate a dying novel, I don't know. Why not just write a different one? You'll have more ideas. You can't help having ideas.
When Nick At Nite is showing George Lopez, it's not doing what I'm thinking. But yes, I even write in the book about how MeTV went to Vince Gilligan and had him present an evening of his favorite television. So it can be done, but I think it can be done on a really large scale. The television of Dennis Potter, most of it hasn't been seen in this country. And that's just one example - it's a very obscure example. There's plenty of great TV out there. There's more crap - but there's great TV, too.
I believe that people who do not vote in this country have no right to complain about the government that we are now living under. By the same token, if you don't really vote in television, you're never going to have your way. Write a letter to the president of the network.
I have been very fortunate in that I'm not doing all network shows or all cable shows, television has really become a year-round process in the way that it's made.
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