Top 1200 Quiz Show Quotes & Sayings - Page 3

Yeah, I had a talk show canceled. Okay, let's go back to the list of people who had talk shows canceled. Johnny Carson had his first talk show canceled. Jon Stewart. Letterman. Conan O'Brien, if you look at 'The Tonight Show' as a show that got canceled.

One of the joys of this show [Dirk Gently's Holistic Detective Agency] is that each of those characters could be starring in their own show. It's only as the show goes on that you realize how they interconnect. They're all moving towards one another inexorably, to meet at a certain point.

A lot of comics fly by the seat of their pants, and they pride themselves on being witty, quick, and off-the-cuff. That's not my show. I wrote a show, and I want to do the show I wrote. I'm not interested in what the audience has to say.

I think we all have great opportunities individually but collectively our unit is so much bigger. Collectively our unit is something I've never seen on television. I don't look at our show as a basketball show. I look at our show as a sports and entertainment show.

Ah, mother! How do you do?' said he, giving her a hearty shake of the hand; 'Where did you get that quiz of a hat? It makes you look like an old witch...' On his two younger sisters he then bestowed an equal portion of his fraternal tenderness, for he asked each of them how they did, and observed that they both looked very ugly.

When you introduce a character and show him for the first time, don't show him fully lit. Don't show him one hundred percent to the audience. Show maybe fifty percent or sixty percent so the audience can fill in the dark spots.

The Texas thing is such a big deal because whenever I see Texas in a TV show, they always show slow-moving cattle and cowboys with the hats. I wanted to show that Texas isn't a stereotype.

In a moment, or type of pressure, you just go out, and I play like I always do. Because it's a big moment, I'm not going to shy away and not show my talents. I'll show what I can do and show it every game.

It [The Esemblist] is also about the generation of audience members that are watching shows and listening to us at the same time; hopefully, in time, when they listen to our show and then go see a show, they'll realize even more what it takes to make a show, and they'll know even more about everybody on stage, rather than just people above the title of the show.

We did a different show every night. We'd open a show, and then two weeks later we'd open the next show. And two weeks later we'd open the third show until we had all eight running. And it was just one of the richest experiences I'd ever had in my theatrical life.

Look at every show on television; it's derivative of another show that came before it. It was only a matter of time. So all you 'Mentalist' fans, it's okay to like the show, but don't be in denial of where it came from. Friday nights, U.S.A., basic cable-style baby.

I think because the show ["Grant MacLaren"] is essentially a hopeful show. The show says that as bleak as the future is, the one thing that mankind developed was the ability to send their consciousness back and where a lot of the institutions of modern life have fallen apart.

I was a crazy Pee-wee Herman fan when I was in my early teens. Before he had the kids' TV show, he had a nightclub show in L.A., and I had gotten a VHS copy of it. It was a kids' show, but onstage in a bar, so it's sort of poking fun at the kids' show. And I was obsessed with that, and then 'Pee-wee's Big Adventure.'

We work hard on the show. We really believe in the show. It's an enormous privilege to work on a show that has the power to touch people's lives in such a positive way. The fan mail and the e-mail certainly reflect that.

It used to be that if you got on 'The Tonight Show,' your career was made. Now, if you're on 'The Tonight Show,' maybe 14 more people show up to your gig in Tulsa.

We tried to do a show once every three weeks to a month. We'd always do a new show. It was not successful. It did not become the Matt & Ben show, but it taught me what I like to do as an actor and what I like to do comedically.

I did the Ed Sullivan show four times. I did the Steve Allen show. I did the Jackie Gleason show.

I had no interest in being an actress what so ever, and when I was about 14 or 15, I was signed to a company in England. They owned a children's TV show which they put me in as a singer, and I was on the show for three years, and I left the show when I was 18 and started looking for a record contract.

You do show after show after show and get them done and on the air. Television devours material. We work a minimum of 12, 14 hours, and often 15, 18 hours a day.

[With depression] you get a real sense of shame, because your friends go, 'Oh come on, show me the lump, show me the x-rays,' and of course you've got nothing to show.

We're not trying to make a reality show at all. The show gets described sometimes as a reality show, sometimes as a prank show. I think it's neither. It's just about us, and it's just about us having a platform to be funny and do comedy, really.

It's much better to wreak havoc on a show and be a maniac than promote myself. Plugs and anecdotes aren't really in line with my beliefs. Besides, if someone sees me on a morning show and thinks, 'That's not funny; this guy is crazy,' then I don't want them to come to the show anyway.

Every TV show is a crapshoot, really. But every once in a while, a show gets anointed as 'the show.'

For me, a good show is not a perfect show; it's just one where you connected. It's a show where the fans got to know you, and they realize that you're human, but they also think you're a star and that you're talented and all that good stuff.

Hosting a show, even a talk show or a game show, there's so much business you have to conduct. There's so much guiding you have to do.

My role on 'Silicon Valley' was so small that I didn't have a lot of influence anyway in the show. There are four guys who really write that show and run that show and then six or eight hanging out in a room kicking in a few bits.

I have always been involved with radio, whether it was as an artist talking to radio about my own songs, or as a promotion man at Def Jam to working records through my company. In 2000 I was asked to host a show in Norfolk VA and through that show I was then asked to host the morning show in Detroit. The concept of the show was around Hip Hop. We were active in the community and we wanted to do a local show that had a hip hop feel around it.

The bias against the show is purely elitist. We're all like the people on the show - the difference is that some of us speak better, or were born richer. There's nothing that happens on my show that rich people don't experience.

When I was younger, I definitely had more of a dream, as they say on 'American Idol,' that I would have my own show. I always thought that that was something that would happen, that eventually I would just get my own show because anyone who wants their own show should get their own show.

When you're doing a single-camera show, it's more buying into a level of reality. I think a sitcom, a four-camera show, doesn't require that so much. I think with a film show, you just need the characters to grow.

One of the things I've learned - before I would go on a show, I was like, "Oh God, I hate that show" or "That show is gonna get canceled." But now after being full-time on a show, you see how difficult it is and how much work goes into it and how so many decisions are based on finances or people's schedules or talent or location issues. It's a miracle that anything gets made.

The way we score is complicated. The rules are strict. The goal on the court is to show nothing, and then when you show something you are a bad person. Getting angry is not allowed. The show that you see on TV is not exciting, like the NFL or NBA, because you are seeing robots.

I was always in show business but in many ways was not really of show business. I didn't move in show business circles, particularly, still don't do it.

I've been watching 'The Cosby Show' and 'Roseanne' a lot right now, and those work so well because they're not, like, jokey comedies; they are coming from real characters. We want our show to be like that. A family show.

Show me anger and I will show you 'Hurt'. Show me hurt and I will show you 'Love'. Peel the layers if you care!

My show is an anti-show and the audience have to want to listen. I'm sitting down, there's only one of me, I don't talk much to the audience and it is very quiet. I wouldn't be able to do that kind of show if people didn't know me and my material.

I think every show I do, whether I am doing eight shows a week of a Broadway show... I think, "that's a show I'll never get back"... I go home at night and I think to myself, "that was my favorite".

A very common thing these days is people show up and they ask us in the band to sign with a Sharpie right on their skin and they go get it tattooed the next day. Then they'll show up at another show and they'll have their tattoo.

When I came to the Food Network, I didn't want to do a cooking show. I told Kathleen Finch for nine months I didn't want to do a cooking show, I wanted to do a home-and-garden show.

I want to show who I am, show my best tennis, show why I'm there, why I belong.

He used to have a tent show, a little tent show, and I thought I was going to get a job working one year on the tent show, but he closed it down and I never got to go out there, but anyway, he had a sax and played drums.

We're nondenominational. I come from Northern Ireland, and we've had religious wars for years. I didn't want to create an illusion that my God is better than your God. So our show is a spiritual show, not a religious show.

I booked my first national tour of a Broadway show right out of college. It was the tap show, '42nd Street.' I had only been tap dancing for three years when I booked that show.

I just wanted to show the migrants as complex humans with flaws and weakness, with good and bad things, and show that they're parents and family men. I wanted to show them with everything, as they are.

The show isn't about screens, and we don't have any video content or lasers or things blowing up. I want people to come to our show to listen. I want the show to be the music.

There is no business like show business, Irving Berlin once proclaimed, and thirty years ago he may have been right, but not anymore. Nowadays almost every business is like show business, including politics, which has become more like show business than show business is.

Katey Sagal, you are an incredible actress. You worked on ‘Married with Children,’ the show that changed comedy, ‘Sons of Anarchy,’ the show that took comedy to a whole new level and ‘8 Simple Rules,’ the show that killed John Ritter.

You know, 'The Golden Girls' was a very unusual show to start on. I was young, and it was a show about old people, and it was a very traditional show, but it was also an amazing training ground for a joke-writer. It forced me to learn those skills.

Robert Gober, for example. He doesn't seem like somebody who is just going to show in a gallery that asks him to show. He's just making his work, and when he's ready, he's going to show it.

You know, we certainly have a great budget on the show, but the expansions to world of the show really arise because, and this is kind of the idea of the premise of the show, where is each week you're kind of meeting . . . It's random access.

I love a smart, well-written show, and '30 Rock,' well, you can't get any better than that. Tina Fey poos funny. There's nothing that she does that isn't funny. That show is an example of how brilliant she is. It's so smart. They've done some brilliant commentary about the 'Housewives' with 'Queen of Jordan,' their show-within-the-show.

You show you care, you die.You show you fear, you die.You show nothing, maybe you live.

Let me show you how to drive me crazy,Let me show you how to make me feel so good,Let me show you how to take me to the edge of the stars and back again.You've gotta show me how to drive you crazy,You've gotta show me all the things you wanna happen to you,We've gotta tell each other everything, we always wanted someone to do.

Seinfeld [show] had been so huge for me. It was one of those things where I discovered Seinfeld really early and was making sure everyone I knew was watching it. I would tape it on VHS and show it to people that hadn't seen the show yet.

Obviously Mad TV, SNL are one kind of show, whereas The State belongs to the kind of show that is entirely conceived written and performed by a set group that existed before the TV show.

It's our approach to treat each show like an arena show. We over-invest in production to make the stage look bigger, turning the show into an experience and not just somebody standing around with a microphone rapping.

'Freaks and Geeks' was my favorite show when it was on, by a wide measure. And that's the show I wanted to do. I noodled with the idea of doing a show about teenagers that told small stories, small moments of personal growth.

I think one reason why our show is popular too is that we have relationships with all these people. They are our actual friends. We're not like show promoters where we're like, (sleazy) "Hey, come on over and do a show."

There's a show on Comedy Central that I love called 'Nathan for You,' which is kind of a reality show, almost a prank show, where this guy Nathan Fielder goes around helping struggling businesses. He's so hilarious and so awkward.

I'm proud of the work that we did, and my hope is that everyone who worked on 'Kroll Show,' it will be a credit that people will be like, 'Oh, you worked on that show? The word on that show was that it was good.'