Chester Brown Quotes

They've got to deliver twenty-six episodes a season and they're not going to beat their heads up against a wall if they feel something didn't, like, pan out the way they had hoped.

I used to think that deadlines should be ignored until the product was ready: that they were a nuisance, a hurdle in front of quality, a forced measure to get something out the door for the good of the schedule, not the customer.

With a series, keeping the quality high and writing incredibly fast, that's the first lesson you learn. You can't be real precious. When you're doing a feature film, you have 2 1/2 months; you sort of take your time. It's a different animal.

The Ninety-Ninety Rule of Project Schedules - the first ninety percent of the task takes ninety percent of the time, and the last ten percent takes the other ninety percent.

I think any filmmaker looks back and thinks, 'Boy, if we only had four hours more on that day when the sun was going down,' or, 'If we only spent more time and went back.'

I usually have 10 different animation projects going at a time.

It usually happens that I have multiple different projects going on at once, and one can be referencing the other.

Knowing that Gene and Morgan were playing those roles made it much easier to put the script together-we knew who we were writing it for. It took some mystery away.

As a producer, you're there from the inception of the concept to the delivery of it. It just takes so much energy.

Everybody in the real world will agree - the moment a project is behind deadline, quality assurance tends to go out the window.

You read a million scripts during pilot season, and most of them are not very good, so the good ones really shine.

With TV, you just have to finish the days and get the episodes out. And it's always going to be an impossible schedule. That's the funny thing with TV that not a lot of people realize.

I was notified on July 17 to be ready to start August 7 for an October air date. When we reached the screen we did not have a single segment ready. It was done so fast the writers never got a chance to know what it was all about.

That was, in writing the 'Twilight' script I had about five weeks to write that. I'd taken about a month to write the outline and then it was slam into a script and write it down fast because the writer's strike was looming.

What do you want to get done? In what order of importance? Over what period of time? What is the time available? What is the best strategy for application of time to projects for the most effective results?

With Groo, I try to do one story every book. Sometimes the stories are better if they go a little longer, and I choose to do it in four issues.

The real challenge in this line of work is being able to weed the productive ones from the chaff, to decide which you're going to spend the next six to nine months turning into something that people will pay for.

I write for a radio show that, no matter what, will go on the air Saturday at five o'clock central time. You learn to write toward that deadline, to let the adrenaline pick you up on Friday morning and carry you through, to cook up a monologue about Lake Wobegon and get to the theater on time.

We couldn't pitch the show without having created one, at least one 20 to 25 minute version of 'Broad City.' We wouldn't know how to describe it.

It's rare that you cut out something that is really good. You screen all of it, and when the audience doesn't respond, you cut out whatever is holding the story down.

BBC TV gets hold of an idea and beats it to death until we're all heartily sick of it. They buy people without thinking what they're going to do with them. It's the wrong way around. What they should be doing is employing really good ideas people to come up with good ideas.

Sequels are generally done in a rush. They're done with a sense of urgency. The first time, you spend a long time developing to get it over the line. The second time, you don't. Your expectations are different, and your motivations are different.

The first thing I learned as a producer is that you have very little control over the life of a project. Anything can stall a film from financing to scheduling to casting. Things fall apart all the time. Don't waste time on something that just won't get made. Try to have as many projects going at one time as you can handle.

Nurturing a project from the ground floor is something I've been wanting to do.

You have to find your projects and track them as they go along that long process of being made.