Darren Star Quotes

I was kind of lucky that I had done so much theater over the years, because basically a sitcom is kind of like a hybrid between a film and a play.

Well, usually, when you're doing a sitcom, you get a script and every word or for the most part, is written. So, you know, if it's a 30-minute sitcom, then it's a 35-page script or something like that.

Filming a movie is different from a TV show because film is a lot quicker, you get to see the character progress and grow all in one script, and in television, you wait for a weekly update on each character.

I'd love to venture into TV or do some gritty dramas - Guy Ritchie, that kind of thing.

[Townies] was a huge cast. It was a bit ungainly, I think with 12 regular characters they had to keep writing for.

You might have, as a character, 30 pages of dialogue a day if you're what they call a 'front-burner story.' So you go home, you learn your lines for the next day, you get up, you're there at 7 in the morning, you do a quick rehearsal, you're on camera, you might leave, you know, at 7 at night and start the whole thing over again.

I think about 'The Simpsons,' which has been going on for 25 years. Homer is still in his late 30's. Lisa is 8, Bart is 10. Their stories are told. Yet the series keeps going on and on like a zombie that won't lie down and die. That feels forced and unnatural. The characters never change, grow, age.

Well, the 'Giuliana & Bill' show is a little bit different because Giuliana and I are the executive producers of the show, so certainly we have a lot of control and we have total, I guess if we wanted to, editing power, but I will say, in the seven seasons we've done the show, we've never used our executive producer powers to cut something out.

What I learned on 'Homicide' was that each show deserves its own look.

Working on 'Housewives' was very similar to 'Sex and the City.' Different cities, of course, but a high level of talent in the writing and acting on both!

A lot of cable television is shot on a single camera. Our eyes are more trained to that. It takes the camera off the crane, away from observing the action, to becoming a character in the story along with everyone else. People are getting used to that.

When you're shooting a TV show, there's not a lot of time to build character.

When 'Family Guy' started, we wanted to make it more like a sitcom. And there was very little music.

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.

One of my favorite things about 'Star Trek' wasn't just the overt banter but the humor in that show about the relationships between the main characters and their reactions to the situations they would face; there was a lot of comedy in that show without ever breaking its reality.

I think it's not uncommon for new television shows to spend certainly the first year, but without a doubt, like, the first eight or ten episodes, kind of figuring out what the show is.

One of the things I noticed about the '2 Broke Girls' pilot was that it looked like a new episode in a season and not a pilot, and that's an amazing sign.

I come from Venezuela, from the independent film arena, and you work with one camera.

I can't do a one-camera show. I don't know how to do that kind of show where you count in your head and then you do the next line.

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.

Amy Rapp, my producing partner, and I are drawn to character-driven material. We're developing and producing movies and TV, fiction and non-fiction, studio and independent, broadcast and cable, theatre, and web so our slate is really diverse.

What's so amazing about 'All in the Family' is sometimes an entire act was one camera shot. It was all about characters.

Seeing someone happy on set is just a very small slice of the reality of an actor's life.

It's just hard for a multi-camera show: Either they hit big, or they don't.

When you make a black-and-white movie with two people in it in 2016, you're taking a swing at something.