A Quote by Raphael Bob-Waksberg

I am wary of repeating myself too much. In this age of Netflix, as a Netflix show, if you want to go back and watch a season 1 episode, you can do that easily. I'm not interested in repeating the same story beats over and over and over again. But part of the truth of BoJack story is about how much he repeats himself and these patterns that are difficult to get out of. I'm trying not to be evasive about that. I'm not using that as an excuse. I think that's convenient to fall back on as a TV writer: "Oh, it's a show about stagnation."
I don't know if that's the best story for BoJack, long-term. I do love the world, and I love playing around in it and it feels like an elastic enough world that, any story I want to tell, I can tell about these characters in this world. I can talk about parents and children, husbands and wives, the troops, or Hollywood. It does feel like an endless playground at this point, it would be a shame if we cut it off early for fear of repeating the same things over and over again. But I am looking to move the story and character somewhat.
I don't think there's a ton of new new stuff about doing a sitcom or doing a multi-camera show, but they work. They're fun, and they're energetic, and they're short. And when you fall in love with one - like, I will watch Seinfeld, I'll watch Will & Grace, all those reruns. I just can never get enough. I watch the same ones over and over and over. I watch the same movies that make me laugh over and over and over. I was hoping to be part of something like that.
There are story-room sessions where you think about the big picture, like a novel, but once you have certain things in place, you have to treat each episode like an hour of TV, and think that maybe this will be the only episode that anyone will ever watch. You want to have some sort of beginning, middle, and end to the episode, even if you have storylines that are carrying over. You still want it to feel like a cohesive hour of entertainment. And you can't think about both at the same time.
If you create a good story that has a lot of story value I think audiences like that. It's why they stick with the same TV show over and over.
If you create a good story that has a lot of story value... I think audiences like that. It's why they stick with the same TV show over and over.
I am sick of deconstructing their propaganda, because it's pretty much the same as it's always been. It's just repeating something over and over again until we believe it and we hope that you believe it.
The British model, which I've always thought was great, is that you do a TV show and then they sell it. Then you can buy it at the video stores forever, so it never went away. But American TV used to be if you had a show and it got cancelled, then it never existed. It was just this thing you heard about and you couldn't see it again. There is something so great about shows getting released and people getting to watch them over and over again. It definitely takes the sting out of it.
The Netflix brand for TV shows is really all about binge viewing. The ability to get hooked and watch episode after episode.
One of the great things about doing a play, repeating it over and over again, is that you can practice. And you can get really quite good at it for a while.
So much of comedy happens between your chin and your shoulders. Nobody tells you when you get your own TV show that you're going to watch yourself in the edit room over and over and over again. It's a tough lesson.
I was definitely a child of the '80s. Cable TV was new. I watched a ton of movies and a ton of TV. HBO would show the same movies over and over again, so I'd watch the same movies over and over again.
Being the actors of the craft, the trade, one of the big things you do and you learn is about repeating. There is something to the repeats. I think that is part of what is healthy to young actors. Get out and learn something just through doing that, repeating.
My first show was called 'I Know I've Been Changed' in '92. I tried to do this show for years and years. It kept failing over and over and over again. Every time I went out to do the show, nobody showed up. I was like, 'What is this about?'
See, in my line of work you got to keep repeating things over and over and over again for the truth to sink in, to kind of catapult the propaganda.
I would say plotting is the most difficult thing for me. Characterization is only hard because sometimes I feel I get so interested in it that I want to talk too much about the characters and that slows the story down. So I say, "Hey, people want to find out what's going to happen next, they don't want to listen to you spout off about this or that person." But I think even the bad guy deserves to tell his side of the story.
I've always been drawn more to film. But 'Bloodline,' to me, feels like a 13-hour piece of cinema. And the great thing about Netflix is you get to be almost like an editor. You choose how much of the narrative you want to watch at a time, which makes you complicit in the story.
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