A Quote by Reed Morano

In TV, you are much more likely to see the episode closer to the script as written - in terms of the order of the scenes - than you would in a movie, and here's why: you don't have as many days to edit. You have 10 to 12 weeks or more to edit a feature, and you have four days to edit TV. That's a huge difference.
I write a chapter, then edit it and edit it and edit it and edit it. I don't think we mine creativity from within. It's bestowed from on high, from God.
I do like a song that can look good on a page without even being sung. I edit and edit and edit.
I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it.
I shoot a scene, edit it, and then, two days later, I doubt whether or not it has turned out right. I reshoot a small part of it, go back to the first edit of it, and do all sorts of things.
I think a lot of the logic of Google+ is much better in terms of notification of messages to you, in terms of how you post. One very obvious feature is that with Google+, after you post something, you can edit it forever. That is true of both posts and comments. I edit almost every post I make and almost every comment I make.
Filming movies and TV are vastly different. Film is more of slower pace. You usually have more time to develop characters, and it sometimes takes up to 3 months to film one movie. Sometimes you'll spend half the day filming one scene. TV moves much faster. It takes about 10 days to film an episode.
I generally edit quite heavily. In general, there aren't many scenes that are sitting where they sat in the script in the final form.
Take the time you need to learn the craft. Then sit down and write. When you hand over your completed manuscript to a trusted reader, keep an open mind. Edit, edit, and edit again. After you have written a great query letter, go to AgentQuery.com. This site is an invaluable resource that lists agents in your genre. Submit, accept rejection as part of the process, and submit again. And, of course, never give up.
When I edit the poems - and I do edit, which some people don't mean when they use the term "stream of consciousness" - I'm usually editing toward greater accuracy, which sometimes means more fragmentation, because that is the way I think.
It's easy to leave people wanting more after the first episode, but it's hard to leave people wanting more after the 24th episode. And it's my job, more than anybody else's, to keep that in mind. One season, in TV terms, is nothing. You need to hit it for three or four seasons, and then you're doing well, in TV terms. Then, you've done your job.
[Writing] is edit, edit, edit. It's almost like getting a boat ready to go to sea. You've still got a countless number of things left to fix, but you've just got to go, "O.K., everybody get on the boat. We're going, ready or not."
I'd say there's more of a difference between a play and movie to TV than there is between TV and movies. But there's something involved in the repetition of things that require something different from me in order to sign onto a script.
I had never seen anyone edit the way that I edit before I did it, and it's just what felt right to me.
TV is designed a certain way where you have three, four days on stage and three or four days out. You're basically making a feature every seven days. You have to shoot an hour's worth.
I think too many people edit themselves way too soon. There's plenty of time to edit, and it is a crucial part of it all, too.
I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.
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