A Quote by Michael Shanks

With network shows, writers can be so protective of every syllable. — © Michael Shanks
With network shows, writers can be so protective of every syllable.
The network shows tend to be run, in general, in my experience, by committee, and it's hard for actors and writers to do their jobs.
When you're doing 22 shows on network television, the writers are going on vapors towards the end and, as an actor, you're just trashed by the end.
Every other network has given all their shows to liberals. We are the balance.
Rebuilding a network is a slow, brick-by-brick process. It's not just creating a hit show - it's building shows to back up that hit show; it's creating an identity of success so that people want their shows on your network.
I sometimes wish I had a good 'one syllable, one syllable' name, like Brad Pitt.
Dick Gregory used every syllable, every metaphor, every joke, every march, every incarceration, every hour of his life, to embarrass this country into providing a more perfect, perfect union.
The most powerful military in the world cannot invade, kill or capture a network or destroy every loose weapon on the planet. The best response to this network of terror is to build a network of our own -- a network of like-minded countries and organizations that pools resources, information, ideas, and power. Taking on the radical fundamentalists alone isn't necessary, it isn't smart, and it won't succeed.
We have heard projects with some of the writers, who we've been in business with for a long time at the studio, that we've heard as a studio - often, pitches that are still in their formation stage where we or the writers have wanted our input on developing them. We've probably heard more pitches with the network hat on. Certainly all of the outside pitches are that way, and many of the pitches that have been in great shape coming out of the studio we've heard from a network perspective.
The Lampoon was definitely quite formative. You know there's a crazy like kind of network of comedy writers from The Lampoon that are, that kind of you know like Seinfeld and The Simpsons and a lot of shows kind of had a lot of kind of Lampoon writers and so that was very formative. I mean, to me I got interested in comedy writing at an early like reading like Dave Barry.
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.
I do not have friends and network with the commercial cinema world. In every business, the network is important.
It is important that the audience should understand every syllable of every word, for only then can they grasp the meaning of the song.
They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.
There's a thrill in flying by the seat of your pants - trousers, actually: 'pants' in English means underwear - because most shows don't operate that way. Network shows are repetitive.
My favorite song he ever wrote was 'Cold Cold Heart.' If you think about it, the lyric to 'Cold Cold Heart,' see how many two syllable words are in that song. Very, very few. ... Verses and the choruses have very few two syllable words. 'I tried so hard my dear to show that you're my everything.' One three-syllable word.
My Food Network shows, 'Emeril Live' and 'Essence of Emeril,' are not in production right now, but I wouldn't say that I'm necessarily leaving Food Network. I have a lot of television still in me. I enjoy teaching people, so it's just a matter of time before I do something new.
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