A Quote by Colin O'Donoghue
I would definitely say the last episode is as epic as probably any episode that 'Once Upon a Time' has ever done. I mean, it's massive; it's huge. It's like taking the best of all seasons and jamming it into one - literally.
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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've decided 'Breaking Bad' may be one of the best TV shows ever, but I had to watch every last episode of the first four seasons to come to that conclusion.
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.
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.
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.
The last episode of Dallas was in '1991.' Unfortunately, it was a terrible episode to end the show on: it was a sort of 'It's a Wonderful Life' with Larry as the Jimmy Stewart character. In that episode, I was an ineffectual-schlep kind of brother, who got divorced three or four times and was a Las Vegas reject.
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.
'Party Down' is the most fun I've ever had working in my life. We shoot 10-episode seasons and we shoot it in 10 weeks, so it's very brief: 4-day episode shoots. You never get sick of anybody, and it never feels like a drag. It's way, way, way too short.
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.
Everything we do on 'Luck' is absolutely no different than if we'd had been doing it in a feature film. There's no short cuts. The specificity of what every single line might mean. Everything Dustin Hoffman does. Kevin Dunn is as authentic in the last scene of the last episode as he is in the first scene of the first episode.
I did an episode of The Profiler.
I actually worked on the last episode of Murphy Brown.
I did an episode of The Profiler. I actually worked on the last episode of Murphy Brown.
On a soap opera, you'll do an episode and a half a day, and in prime time television, you're hustling to get an episode done in eight days. That's a little bit frustrating sometimes. But there's also something exhilarating about it. It's kind of like live theater in a way, where you get one crack at it.
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.
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.
There's a lot of levels of metanarrative that I like to play with. That's why I like the Ghostfacers, because we actually managed to come back off the strike with an episode that claimed that the CW wasn't able to get an episode of Supernatural done fast enough. So the prelude to 'Ghostfacers!' is the Ghostfacers going, 'Yeah, those fat-cat writers, we've got a show that's better than that bullshit anyway.' I mean, that's pretty cool in the world of metanarrative, which is, I have to admit, one of my abiding passions.
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