A Quote by Michael Connelly

In writing on the page, you can be a bit elliptical, but on TV, you can't dance around stuff. You either show it, or you don't. — © Michael Connelly
In writing on the page, you can be a bit elliptical, but on TV, you can't dance around stuff. You either show it, or you don't.
When Shakespeare was writing, he wasn't writing for stuff to lie on the page; it was supposed to get up and move around.
When I started off with 'Dance India Dance,' even the TV show people thought it won't be accepted. But with the talent that the show received, I was able to personally tutor dancers to amalgamate contemporary dance moves on Bollywood tracks.
Growing up in Minnesota, I had a lot of freedom to run around, and we had go-carts and four-wheelers and all that stuff. I like that adrenalin-rush stuff. I did a little bit of dance, but mostly sports.
Whether it's a lower or higher budget project, a TV show or a film, the words on the page are the same to me and I approach the work in the same way. My job is to lift the character from the page, whether it's a TV or film script.
Writing a TV show is totally different than writing features, or just, what I started doing is writing features. You write a little bit more organically. You start from the beginning to the end, beginning, middle and end.
Keep writing. Try to do a little bit every day, even if the result looks like crap. Getting from page four to page five is more important than spending three weeks getting page four perfect.
Career wise, I'm looking into different opportunities to do a TV show, but in some way that's not a goal in itself. To me, the goal is creating content and doing fun stuff that I'm proud to show. I don't want to do a TV show for the sake of doing it.
I often find the smaller, independent films are much more rewarding than the bigger stuff, but you do the bigger stuff because it's a business, and you've got to show your face a bit, get yourself around.
You sit around watching all this stuff happen on TV. . . and the TV sits and watches us do nothing! The TV must think we're all pretty lame.
When you're writing for a game - even if you're using very well known characters like Batman and his villains who lend themselves to many different interpretations - you have to keep in mind that you're writing for a different medium. Things are a bit more straightforward than it is for a feature film or a TV show.
When you're writing TV or movies your vernacular is time, it's all based on rhythms, a character takes a beat or two characters have a moment, like everything is about time. And when you're writing a comic, everything is about space. It's how many panels to put on a page, when should you do a full page splash, what is the detail that you see in any particular image.
I just like the lineage and the heritage and the fact that British dance music is still progressing. I'm from London; I love London, and I wouldn't know how else to show that love in musical terms. There's something about British stuff that's a bit faster, a bit harder-hitting. Just tough.
When I create a TV show, it's so that I can write it. I'm not an empire builder; my writing staff is usually a combination of two kinds of people - experts in the world the show is set in, and young writers who will not be unhappy if they're not writing scripts.
My most recent project has been acting and dancing on VH1's TV series Hit the Floor. On the show, we perform at least one dance number an episode. They are all different themes and different dance styles and keep us literally on our toes. The show is exuberant, exciting, and full of scandal. Tune in and I know you'll get addicted.
I didn't know I was going to write for TV until I was suddenly writing for TV, so that kind of stuff can bewilder you.
The Syfy channel was looking for a show to run alongside 'Ghost Hunters' and investigate the paranormal in a different way. For a TV show, it has a bit of comedy, a bit of travel, and you get these thrilling paranormal investigations as well. It's a complete package.
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