Top 956 Episode Quotes & Sayings

If I was going to direct an episode of 'Younger', I wanted it to look like an episode of 'Younger.'

The second episode of any new show can be tough. You have about a week to top the well-crafted and polished pilot episode that was written over six months.

I always thought of episode 1 as the prologue and episode 2 as our chapter 1 for 'Loki.'

If you just stay with it and take it scene by scene, episode by episode, all of the questions that I have, as an actor, tend to answer themselves.

My agent said that every Monday after an episode of 'Entourage,' at the staff meeting at the agency, that's all they do is talk about the episode the night before.

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.

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.

If I watch an episode of SNL, and there's one thing that I liked, then that's a good episode.

In television, you make an hour-long episode every seven days; we used to make 'Party Down' in four days per episode. It's quick and with independent movies is the same: you gotta keep moving. It's very similar.

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.

The way history is currently taught in schools, jumping from Hitler to the Henrys, is like a nightmare vision of Star Wars, where you have episode four before you have episode one. The sense of going on a journey, of chronology and continuity, is incredibly important to the imagination.

I did an episode of The Profiler. I actually worked on the last episode of Murphy Brown.

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.'

Pretty much every show that comes on, I'll try to watch at least one episode of it. For me, there are three different levels. I watch the first episode, and if I love it, I'm lockin' it in for the rest of the season. If I'm not too sure about it, I will maybe tune in the next week. It it's just terrible, then I'm done.

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.

You know what, despite my complaints about The Phantom Menace and Episode II, when Episode III comes out I'll be first in line. I genuinely love it.

Love is the history of a woman's life; it is an episode in man's. [Fr., L'amour est l'histoire de la vie des femmes; c'est un episode dans celle des hommes.]

The idea that you could stitch together every detail episode to episode and preserve continuity for the length of a season and tell a story while using no time cuts, no flashbacks, nothing but pure real time just seemed too difficult.

I have a big, long episode [in Full Circle] with Calista [Flockhart], and then my character actually carries out through a lot of it because he was a cop investigating this crime. But it is almost hard to remember, even though it wasn't that long ago. We shot it so fast. We literally shot that whole episode in one day.

There are not that many jobs as an actor where you don't get to know what your character will be doing from episode to episode.

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.

[Jack Nash] was very different than anything I'd played. In fact, there's a scene I have in a tent with Louis Ferreira, who just did an episode of Travelers. He was in the fourth episode of Travelers playing another team leader, and we really have it out, not unlike the way we did in the tent in Andromeda.

I did an episode of The Profiler. I actually worked on the last episode of Murphy Brown.

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.

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 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.

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.

My feeling is, from when I started on 'Breaking Bad,' there's no reason to pick and choose because every episode is great. Whatever episode you get, you're lucky to do it.

'Bionic Woman' changed direction too much from episode to episode, which I think is why it lost momentum.

It's just immensely frustrating that things like Breaking Bad get made that are kind of perfect! There's not even a bad episode of Breaking Bad, let alone a bad season. I want to be able to say, "Hey everybody, it's impossible to make a show where every episode is great!" No it's not.

The Netflix brand for TV shows is really all about binge viewing. The ability to get hooked and watch episode after episode.

It's interesting the whole Kardashian thing with 'Offspring' because really my choices - with my costume designer - for every single episode are based on the emotional journey of that episode for the character.

I think, with any kind of Netflix show, it's quite nice at the end of - just even watching the end of Episode 1, you have that kind of moment to yourself where you're like, 'Okay, I need to see the next episode here.'

I didn't get paid to write professionally until my first episode of 'Kyle XY,' which was the fourth episode of the first season.

I saw an episode - the second episode [of Black Mirror], "Fifteen Million Merits" - and I completely flipped out: "This is what my nightmares are made of. This is the most terrifying thing I've ever seen."

The standard that '24' is held to is higher than at other shows. A weaker episode of '24' would be an amazing episode for a lot of other shows.

I kept saying I want to do an episode that's set in the past, how do we do a period episode of Black Mirror? And simultaneously there was another idea we were thinking about and the two things sort of gelled and became San Junipero.

What I've learned in my career as an actor is that you're only as good as your collaborators. The process is many things, but it is wholly collaborative, particularly with something like 'Westworld,' which is a 10-episode-per-season gig, and we're just now on the 7th episode.

It's really exciting and also it makes me nervous, because I'm like, "Well, I figured out how to perform this episode, but what if I'm not as good at what they write for next episode?" But that's part of the challenge, and that's what, I hope, ultimately makes me a better actor.

The good news is that “The Hangover Part III” isn’t a rerun like the second episode. The bad news is everything else. For all the promise of mayhem and WTF moments, the final episode hits you with all the force of a warm can of O’Doul’s.

I always thought it would be funny to have the Parents Television Council write an episode of 'Family Guy' and give them full creative control. Then see how good the episode is. That's something we've actually discussed in the writers' room. We haven't proposed it yet, but if somebody from the PTC reads this, it might be worth discussing.

When we came to the network, it was a very interesting time where Portlandia had just come on the air and had been very, very successful. I think people had Portlandia-sized expectations for Comedy Bang! Bang!, especially after the first episode was sampled by quite a large number of people. I remember getting the ratings after the first episode, and the network was over the moon about it. And then the second episode tanked so hard. Like, no one watched it. It was a resounding, "Hey, a bunch of people tried your show, and they all hate it!"

In a film you only get two hours to do this big arc and so you have to pick and choose your moments carefully, but with television you get to take your time and just take it episode by episode and discover new things.

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.

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.

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.

'Kaafir' is an eight-episode series; but while shooting, you really don't know which part is for which episode.

In the writers' room, when we talk about each episode, we first talk about the character journey of the episode.

As soon as I knew we were going to be doing tribute episodes, and as soon as I knew the landscape of 'Psych' allowed us to do homages, the show creator and I both had respective dreams. His was a musical episode, and mine was a 'Twin Peaks' episode.

If you're an English actor, and you're asked to do an episode - especially the Christmas episode - of 'Downton Abbey,' you can't turn it down. It's like, 'Of course!'

I'm not supposed to talk about the snail. The snail is, well, congratulations to whoever noticed it. It's supposed to be a thing where you gotta look for it in every episode, and it's there three times in every episode.

In its brief 14-episode run, 'Firefly' gave viewers as much chance of witnessing a horseback chase or train robbery as a laser gun and spacefight in any given episode. Snappy one-liners and silly hats were a constant, of course.

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.

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."

I did a Moonlighting episode because I was friends with Whoopi [Goldberg, who guest-starred in the same episode], and she asked me to do it and I did it. But yeah, that was my first regular on a series, and it's because I'd met Brooke Shields a number of years earlier at a charity event.

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 can't remember what episode it is but there's an episode of Prodigal Son' where I wake up in my underwear and, you can see, I can put the beef on!

And it's only the beginning of a new era of exceptional Star Wars storytelling; next year we'll release our first standalone movie based on these characters, followed by Star Wars: Episode VIII in 2017, and we'll finish this trilogy with Episode IX in 2019.

For the third season, we do a sit around on one episode where we were in character and then we commented on one episode just being ourselves, so - not really. I was comfortable, though. I wasn't nervous.

It's really wonderful to come to work and have each episode be different, in a way. They have similar structure sometimes with the villain, but we can go in any direction we want. If we want to do an episode set in the circus, we can do that. You know how precious that is. That doesn't come around a lot.