Episodes Quotations

If I knew how to operate a DVR, you'd find episodes of 'The Tavis Smiley Show,' 'Democracy Now!' and lots of stuff from TV Land. What you can find now on my Hulu account are Korean soap operas, 'Grey's Anatomy' and films from the Criterion collection.

One of the roles I hold really close to my heart is a small 'under-five' role I did on 'The Young and the Restless.' I think I did about four episodes and it meant so much to me, simply because it was my mom's all-time favorite soap.

I did three of the original 'Twilight Zone' episodes, yes. Also, I did a little thing in the feature film, and then I wrote one of the episodes in 'The Twilight Zone's last round where I starred with Cloris Leachman and my daughter Liliana in a true sequel to 'It's a Good Life.' So, yes, I have a good 'Twilight Zone' alumni jacket.

In my mid-20s, I was directing episodes of 'Alfred Hitchcock' and 'Peter Gunn.' I was pretty much on course and - as I sometimes joke - was prepared to devote my life to become the second best film director in my family.

I was in two episodes playing Christopher Reeve's character's emissary. They wanted to have my character announce Dr Swan's death, which I thought was exploitative.

Not all series books are sagas. Some are shaped more like beads on a string, separate episodes held together by a set of characters, who may or may not grow and change as the series continues.

I did nine episodes of 'John Doe.' I died of boredom.

'Northern Exposure.' I loved that show; I loved the way it was able to have episodes where somebody finds a woolly mammoth, he calls the museum in New York, they send a guy out, and the mammoth's gone because someone ate it. To me, that was everything I ever wanted to do. That show mixed emotion, humor and the surreal all at once.

Love is the whole history of a woman's life, it is but an episode in a man's.

We did a reunion when TV One first launched episodes of 'Living Single'. Every time any of the gang comes through Atlanta, though, we always visit.

I think most people who were involved with television will tell you, if given a season or given a 13-episode order and getting those episodes on the air, and if viewers don't come, I think most people will tell you they'd walk away. They feel they were given a fair shake, and if viewers didn't come, they didn't come.

When I auditioned for 'Jessie,' I knew that Disney Channel basically will do 100 episodes of a show if it's a hit; they'll stick with something. It's a great network to work with because they make a nice big commitment to a show.

I feel like some sort of fiction-writing hobo, jumping trains and always hoping I'll find a good place to start a fire in the next town. And I keep having these panicky episodes where I corner my husband and rant at him: 'I don't have anywhere to write! I can't write! I don't have a place to write!'

The territory has changed, and a lot of really good actors want to do cable series, but they don't necessarily want to do network TV and make the commitment of 22 episodes or whatever. They find that the liberties and the creative freedoms that you get in cable is more interesting to them than the censorship of a network show.

I would never watch 'Lost' on TV; I'd just wait until I could get at least five or six episodes in a row. Saved myself a lot of anxiety that way.

I wanted to prove that I could play something else, but there were 249 episodes out there of 'Mayberry,' and it was aired every day. It was hard to escape.

I suffer from manic-depressive disorder, and I've chosen not to take medication for it. Because of that, every once in a while I go through manic episodes and really depressed episodes.

I love it and it is a blessing to be able to have seventy-five to eighty episodes to develop a character and find your voice. You have a similar through voice, and yet you are making different decisions, and so you act differently and you make different choices, as that is what your character would do.

First of all, it was in my contract. I knew I would be directing an episode.

In my experience, 'SNL' has Lorne Michaels, who is, you know, the captain of the ship and gives the show direction and a singular focus, whereas 'MadTV' - even in my 13 episodes there - had maybe one too many cooks and was a bit more chaotic creatively.

Although there were only about 24 episodes made it seems to run forever. They take a couple of episodes and put them together, making a feature film once in a while. I had good fun making the series.

I knew early on after the first couple episodes were fully scored and animated that we had a real quality show here. But I always questioned whether or not it would work.

I think 'Lost in Space' certainly shifted from being an ensemble adventure series about a family facing the unknown alien environment to this trio of comedians - Dr. Smith, the Robot, and Will Robinson being the straight guy. It definitely changed its tone over the three seasons and 84 episodes we did.

With network, shows are pulled half the time after three episodes whether they're good or they're not good. It's a numbers game. With cable, they can take a lot more liberties.

It was like an older but better version of Young Talent Time because we had more time to spend on it. There were three guys and three girls and we made thirteen episodes that were sold in the United States and Canada.

The beauty of voice-over work is that maybe you come in and record once every two weeks for a couple of hours and do a couple episodes a session. It's awesome! You spend an afternoon playing in the booth, and there you have it. It doesn't interfere with much.

As far as the future for the Showtime episodes that have already aired, we are sold into syndication so we'll be appearing primarily on the Fox syndicated networks and then eventually the SCI FI Channel. So, we'll be around for a while.

One of the last episodes was all about a flood. We were working in the rain till all hours, and it was muddy and it was cold and it was damp, and it was hours under the hoses. That was not pleasant. That was not pleasant.

I really love the karate thing I did on CHIPs. I studied with a trainer because I knew we'd do episodes that had karate.

I needed to feed my family. I read a couple of the episodes. How can you keep on doing the same thing?

In nighttime series, the actor gets billing up front on every episode.

You don't have a lot of time; you have to get it right. It's amazing how they create these episodes in such a short amount of time. They lavish a lot of care and money on each episode, and they just look terrific.

I once aged 90 years old in one episode.

I'm of the opinion that life doesn't always tie up neatly at the end of the episode.

For me, personally, I watch pretty much everything on Netflix, and I watch all the episodes in a row, when I can.

It takes awhile for writers to get to know actors rhythms, not just as actors, but what they bring to the characters. I think it takes a few episodes for the writing room to catch up to the actors and vice versa.

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

The two favorite episodes of 'Lost' that Adam and I wrote were 'Dave,' which was where Hurley has an imaginary friend, and 'Trisha Tanaka is Dead,' where Hurley finds a van and starts it.

Another show I really enjoyed working on was 'Raising The Bar.' I did four or five episodes of that show.

I used to write in school a lot; I always liked it and used to write on my own, comic books, come up with alternate story lines to the stuff I watched and read, a lot of books and TV, episodes of 'Twilight Zone.' I didn't think about it.

I tend to write the episodes in the middle of the season, which can be a challenge because you've got to balance all these threads that have begun - and also make sure they will make sense with the overall plan going forward.

I didn't record any additional dialogue for this CD, they are excerpts pulled from existing episodes.

I've always had a show that went seven episodes or 13 episodes or whatever. And I've never had a show that's gone past a first season. It really is a lot of work.

When we're on Twitter, we're not only live tweeting episodes and talking about behind-the-scenes stuff, we actively try to respond to everybody.

Over the long hours of taping 5, 6 or 7 episodes a day, we develop a great sense of family.

For Democrats, nothing is any less complex than a 'West Wing' episode.

I was doing Babylon 5 season two and I was in all 22 episodes of that.

I'll always love movies. But there's something I love very much about TV, when you shoot episodes while other episodes are still being written.

Well, I just finished starring in a new episode of the new The Twilight Zone television series.

If you watched 'Lost,' sometimes the episodes were crazy good, and sometimes you're like, 'That one was just sorta there.'

In recurring episodes over the next couple of decades, the minority view gradually won. A profusion of factors differentiates each case from the others, including naked partisanship on both sides, but the trend has been clear.

'Lipstick Jungle' was on the air for 20 episodes - I loved 'Lipstick Jungle.'

When you're doing lots and lots of episodes and you're playing the same character, it's great because you really get to know the character and it becomes a really fast style and you find subtleties in it.

We shoot double episodes in 15 days in Los Angeles.

We do 32 episodes a season and will have shot 267 episodes by the end of the ninth season... It's impossible to sell that many episodes in the foreign market.

I'd had episodes before, but I swept them under the carpet. This time, I couldn't do that because everyone knew. I got on with the hard work of getting better and haven't had a blip in almost 10 years.

I understand why creative people like dark, but American audiences don't like dark. They like story. They do not respond to nervous breakdowns and unhappy episodes that lead nowhere. They like their characters to be a part of the action. They like strength, not weakness, a chance to work out any dilemma.

Every first episode of a season has been crafted like another pilot.

Like any show, I think some episodes are going to be stronger than others, but I think it's a good show that people enjoy and I hear the reactions too.

My favorite episode of Stargate? All of them! My favorite episode of Parker Lewis? All of them!

One of my favorite episodes was the one in which Homer grew hair. That was a very unique episode, since there was a gay secretary, but that wasn't even the issue of the show-the issue was Homer's image changing because he had hair.

Chimps are very quick to have a sudden fight or aggressive episode, but they're equally as good at reconciliation.

It used to be that you had to do a certain number of episodes to hit syndication in order to try to keep a show on, because it's important to the network because it sells good commercial time. That's really not how HBO does things.

I love the feeling of having as close to a steady job as you can ever have as an actor. I'm not an extravagant spender, so when I work on a TV show for a season or do a bunch of episodes as a reoccurring, I try to spread the money that comes from that out so that I can do these movies that are important to me.

One of the things you have to be acutely aware of when shooting episodes out of order is your character's relationship with the other characters.

When I came out to L. A., I got a part in an episode of 'Star Trek: Voyager,' and I hired an acting coach.

By all standards, except for 'Star Trek' standards, 98 episodes of any television show is a wildly successful run.

The Oceanic White Tip is considered one of the most dangerous sharks in the sea along with the Great White and Tiger. It is responsible for some of the most famous episodes of man-eating in history, such as when the U.S.S. Indianapolis sank in 1945.

There were episodes where I would wear seven or eight outfits. It took a lot of time to get those together. What the character wears is very essential to how I create the character.

I just watched Paul Michael Glaser. He was the reason I wanted to do the movie because as a kid I was such a big fan of his. I watched all the episodes and tried to get a feeling for what he was doing.

When I was a kid, I'd wake up extraordinarily early every morning and turn on the television, scanning for episodes of 'The Jetsons.' For some reason, I loved the notion of a future where there would be flying cars, supercomputers, and most of all, robot maids to take care of the chores.

Tom Hanks knows the name of all the episodes.

The mere existence of 'Buffy' proves the declinists wrong about one thing: Hollywood commercialism can produce great art. Complex and evolving characters. Playful language. Joy and sorrow, pathos and elation. Episodes that dare to be different - to tell stories in silence or in song. Big themes and terrible choices.

When I was 13, I had these episodes where I could just see the world without any words attached to it, without any associations. It was a little bit spooky. A lot of people might have even thought it was pathological. I thought it was interesting.

I feel terrible for directors of TV because all the episodes have to look the same. They make a great series for five or six years, and then when it's canceled, they can't break out on their own.

I've never watched an entire episode of 'American Idol'. It's too mean.

We stopped doing that about six episodes in -- even though we'd built nice big sets -- because it just stopped the storytelling cold.

Watching 'Doctor Who' in the United States meant I was always behind the times - PBS didn't get new episodes until two years after they ran, and I was aware of the show's cancellation before the characters themselves knew, at least in my corner of the world.

What's in the hatch is so intense/cool/complicated that it actually takes three full episodes to fully understand it. Fortunately, these are the first three episodes of the show, so the wait is over!

With the incredible 'Friends' television series and DVD phenomenon, many people have watched episodes countless times and have become experts, so it was natural to create an accessible and exciting videogame that could challenge their knowledge, ... Working together and leveraging cross-divisional Warner Bros. competencies has enabled the studio to design, create and distribute FRIENDS: THE ONE WITH ALL THE TRIVIA along with a repackaged ten season DVD box set, giving fans a chance to complete their collection and their 'Friends' experience with a fun quiz format including memorable clips and characters from the show.

Even though the third season of Necessary Roughness was only ten episodes, they were an extremely intense bunch of episodes, especially toward the finale.

Hotmail just picked up 12 new episodes of 'Judging Amy'.

Any rapidly enacted episode. . .should be seen through only one pair of eyes.

We are here to help clarify one of the darkest episodes in human history,

We're about two episodes ahead on a good run.

When I've written episodes of 'Doctor Who', when it comes to the monster chasing somebody, it's the Doctor and the companion, running down the corridor, being chased by a guy with a stick and a tennis ball on the end. Whereas, when I see the rushes of 'Being Human', we're actually looking at the werewolf, and it just looks real.

There are writers' rooms that will write episodes all together, who will break into little groups and write certain scenes. Everyone's process can be a little bit malleable. Everyone tries to get into a groove or find what works for their room.

It was hard to find somebody who could juggle both. And so we were really just focusing more on that. We figured, okay, if we're lucky enough to find somebody then, you know, the audience will get over it in one episode.

When the show was picked up for 13 episodes and we knew we were moving there, my daughter Kyle started crying. She said they were tears of happiness.

When the show started out, it was like all of a sudden we had to do 35 episodes and we had just a month and a half to write them, and it took me a while to realize that I was in charge.

Shanks and I tend to have a lot of fun. And, oh, any of The Simpsons' episodes are my favorites too.

No director directs 'Game of Thrones' without reading all the episodes and knowing what's going on. All the episodes are written in advance, so you can do that, which is an important point.

One of the trickiest things about 'Game of Thrones' is just seeding those first couple of episodes with that basic information that people need to know, both about the world and the ground rules of the world, and the relationships between the characters, as far as who means what to whom and why.

My favorite episodes of The O.C. are the ones where not much happens, where we take it down a notch. But I don't think the audience agrees with me.

'Portlandia' - love it. I can consume three episodes of it without even realizing I'm watching TV.

Next year we don't have the Olympics, so we'll be going straight through first quarter. But it's a puzzle, and you really have to take a look at what makes sense for the show, build up your audience, keep them, but not throw in repeat episodes and then hope they're going to come back or remember that after three repeat episodes there will be a brand-new episode.

One of the most fun sets and one of the most fun episodes that we did was Bride of Chaotica.

I worked with Roger Moore on three episodes of 'The Saint.' He is a lovely man, a good director, and was my favourite actor to work with.

I can feel it when there's too much medical and not enough personal, and that's the most important balance to keep. We've done episodes where there's a ton of personal and not very much medical. Works just fine. But when the medical sort of overtakes the personal, the show doesn't feel like the show.

Certainly 'Survivors,' when we put that series out, the second series dipped below 5 million for one of the episodes - all of a sudden, there's no recommission, and I think that's dreadful.