A Quote by Mireille Enos
A lot of cop shows, because they have the restraints of having a new case every episode, the victims often become these kind of nameless, faceless plot points, and as an audience we don't feel anything for those people.
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I choose to think of tv audience as nameless, formless, faceless people who are all like me. And anything that I write, if I like it, they'll like it.
In 'Dhil,' my character wants to become a cop, and those who want to become cops have a small waist. In 'Saamy,' where I play a cop, my waist is thicker. Because after you become a cop, that's how you look.
Every day people engaged in the clever defiance of their own intuition become, in midthought, victims of violence and accidents. So when we wonder why we are victims so often, the answer is clear: It is because we are so good at it.
It’s when I have to acknowledge the past and all of those nameless, faceless people I’d assassinated, that I unravel inside.
Speaking from personal experience, I watch zero shows when they air. The only shows I watch live are awards shows or sports. Shows like 'True Detective' and 'Game Of Thrones,' I watch every episode, but I don't watch them as they air, and I think that's becoming the case for people more.
I'd worked on leprosy and malaria in India [at the World Bank] and asked myself the question: Why do we let 2 million children die every year around the world for not having clean water? Because they're faceless and nameless. So, for me, Facebook looked like it was going to solve the problem of the invisible victim.
You can look at what's happened to America in the last years and say a lot of people were asleep. A lot of people were not staying awake and watching what was going on and facing the pain of that and dealing with it.I don't care if the rest of the audience doesn't think along those lines at all, because the audience is a huge spectrum of people, from people who are introspective to people who just want to be scared and have fun, and all the points in between.
I am such a huge fan of both of those shows - I've seen every episode of 'Sex in the City' and every episode of 'Girls' at least once, some multiple times.
A lot of shows start at one place, and then each episode is like a new little circle, often getting smaller.
This moment is so much bigger than me. It's for every nameless, faceless woman of colour that now has a chance because this door tonight has been opened.
It's often the case with successful TV shows that they kind of inadvertently live on past their prime. It's best to leave the audience wanting more.
There's a new reality born every minute. Unless one is a believer in predestination (in which case I'll call the prestidigitator), or other puppet-like restraints on our powers, one is free to imagine and effect changes on the world. And if enough people do it, there are big changes. These things happen. Anything can.
Even if I'm doing a show and there's five people in the audience and the sound system is terrible - I mean, it's been a while but I've certainly done those kind of shows where it's just every conceivable thing is against you - you still have music. It's still something that's real whether there's five people in the audience or a hundred thousand people in the audience. And that's always been there for me.
(In) most cop shows, every cop in the squad speaks exactly the same and the same kind of short clipped film noir-ish talk.
I'm aware of narrating certain experiences as they happen or obliterating those experiences with narrative and then those stories - not the experiences themselves - might become material for art. This kind of transformation shows up a lot in 10:04 because the book tracks the transposition of fact into fiction in the New Yorker stor
When I started in television, it was brand new. It was the miracle over in the corner of your room. Now the audience has seen every story line. People have heard every joke. They can predict the plot almost before a show starts. That's a hard, sophisticated audience to reach.
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