A Quote by Tim Kring

The ability to be writing towards something that was actually going to be a whole series was a really big lure. — © Tim Kring
The ability to be writing towards something that was actually going to be a whole series was a really big lure.
The stage for our whole show is actually really interesting and a lot of fun. There's always something going on so we figure even the people who come up and don't know Big Time Rush love the show because there's always something going on, so that's what we love about it.
It [going from mini-series to series] was never even discussed because it [The Starter Wife] was, you know, an adaptation of a novel. And we - the mini-series encompassed the whole novel. And so it was always going to be a finite sort of event. And then I imagine when people started to really respond to the show and then we got ten Emmy nominations, USA sort of said, "Oh, I think maybe we have something here."
If you're writing a song, you have to write something that can be understood serially. When you're reading a poem that's written for the page, your eye can skip up and down. You can see the thing whole. But you're not going to see the thing whole in the song. You're going to hear it in series, and you can't skip back.
The ability to suspend reality and go into a make-believe world can be really, really difficult if there's something really big going on.
I shift between mediums very frequently. Instead of taking a break from writing, I just write in a different medium or in a different way or for a different purpose, so that I don't actually stop writing - I just go to something else. Like going from a big symphony to a piano piece is great and very refreshing, I find. And then going from that to a big concerto, and then having to go out and play.
Even with the 'Top Boy' series with Ashley Walters... I've been talking like on the creative direction wave with Drake about the series. Making greatness with it. The whole style of what's going on in London, the sound, is real. It's an actual thing that actually happened. So it deserves to be on the telly.
I had to take a big risk by writing my young adult book series 'The A Circuit' and putting myself out there in that way. I don't consider myself a good writer, so I had to rely on a co-writer. Still, I knew that people would judge me and my writing. I am really proud of the way the series turned out.
I was always told you're not going to make much money from writing. You can actually do it. Now I've built a really good, big house out of words.
I love writing. I never feel really comfortable unless I am either actually writing or have a story going. I could not stop writing.
News has become entertainment. Once that happens, a whole series of horrific events start to happen, whether it's the lack of dissemination of something that can inform you or something that actually negatively impacts society.
In writing a series of stories about the same characters, plan the whole series in advance in some detail, to avoid contradictions and inconsistencies.
The whole first movie [Twilight] was pretty fun. I had never really done a movie like it, when there's such a big cast of people that are around about the same age. Everyone didn't really know what was going to happen with the movie, but there was a good energy. There was something which people were fighting for, in a way. They wanted it to be something special. None of us were really known then, as well. It felt like a big deal, at the time.
There's a big part of me that's atheist. There's a big part of me that's agnostic. And there's a big part of me that tends towards the mystic. The thing that I find is most important in all of that is to retain my sense of wonder and the idea that I don't actually know what's going to happen.
One of the most important factors, not only in military matters but in life as a whole, is ... the ability to direct one's whole energies towards the fulfillment of a particular task.
I really needed to dramatize and clarify that Rachel was taking strides towards her own healing and her own sobriety - and that she was actually thoroughly frightened about what she may have done.This was something that was so beautifully done in the book [The Girl on the Train] through inner monologue, but I couldn't just have a whole film filled with inner monologues. So going to Alcoholics Anonymous was a very simple solution to that problem.
Writing a whole series was a crash course in screenwriting, which is a very different muscle to standup comedy writing.
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