A Quote by Mohit Raina
'Kaafir' is an eight-episode series; but while shooting, you really don't know which part is for which episode.
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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.
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 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.
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.
I never watch television, although, the other night, my wife and I caught an episode of 'Buffy the Vampire Slayer' from Season Six. It's the only series of which I've ever watched every single episode.
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 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.
The only episode which was completely my idea was for Mitch Pileggi, the actor who portrays Skinner, the Assistant Director of the FBI. He appears often in the series, but only for a few scenes. You know virtually nothing about him. I wanted him to have an episode that was his alone, so I wrote Avatar for him. He even has a scene that's pretty . . . hot [knowing smile]. He was very happy.
'Bionic Woman' changed direction too much from episode to episode, which I think is why it lost momentum.
I had watched an episode of Black Mirror almost exactly a year prior to when I started shooting my episode. I was by myself in New Zealand, and my husband was like, "You have to see this show. It's so incredible."
Well, I must tell you I write the scripts very close to the bone. So I'm writing episode seven now and couldn't tell you what happens in episode eight.
I think what people watch television for is the emotional continuity, from episode to episode, and feeling that the experience that they had, four episodes ago, has actually been building to an episode that comes later, and knowing that the characters are growing, as a result of that, and making mistakes, is really, really important to the way people connect to television.
I didn't get paid to write professionally until my first episode of 'Kyle XY,' which was the fourth episode of the first season.
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.
I love my situation as a spectator. The actors are only a little bit ahead of the audience. The audience discovers the episode when it's screened, but we actors only discover the episode when we get the script, two weeks ahead of shooting. Until then, we know nothing of the evolution of our characters.
Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.
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