John Francis Daley Quotes

When you start working on a series, it's almost too much work. It's like a movie a week.

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.

Working on 'WAGS' is obviously very different than working on wrestling television. It's very different in the way that there is not nearly as much to do for 'WAGS.'

You have to edit it, mix it, color grade it, there are processes and the audience doesn't care when they binge-watch a show. They think in four weeks you should get the next season.

China surely must be interested in a more stable, non-antagonistic relationship with the African continent precisely because of its own needs. And therefore would have to say in our own interests, as China, it is necessary that we participate in the process of the development of the African continent.

The craft of putting together a performance on film or television is incredibly intricate; you're putting together a story that is completely out of order, that you have to make some sense of, that you have to keep some coherence to the story, to the character.

There's not much of a difference shooting something for TV and shooting something for film; the difference is film is in a cinema and TV is in your home.

I come out of journalism, and then book writing. There, it's just you and your editor and maybe a copy desk, looking over your editor's shoulder, and that's the story. It's right there. I can show it to you because it's on paper.

In traditional TV, it's very hard to have the luxury of banking all your scripts and getting everything in a row, but it does make it very easy, and it's very productive and beneficial and you learn as you're going.

It is also false that the revolution ripens and comes to development only in the national soil.

It is a long road from conception to completion.

I don't like seeing the stuff that's not polished. It's harder for me to step away from it and watch that.

Elements of the heroic exist in almost every individual: it is only the felicitous development of them all in one that is rare.

Hours is an understatement. I honestly don't know how the director and editor decide each week what actually makes it on the air. There's of course director and cast commentary on each episode on the DVD. We had a blast recording that.

We will make yogurt with all kinds of nutritious elements. We want to provide nutrition to the poor and children.

Using the Product Development Waterfall diagram for Customer Development activities is like using a clock to tell the temperature. They both measure something, but not the thing you wanted.

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 Daily Show was an incredible training ground for that kind of thing. It was all about discipline and generating material constantly.

American television is very much created by the writers, just the volume of it. The writers are so key. You're just trying to do something that serves that script. And in general, film isn't all about the script, really.

The other great thing about it, that seems to be the case in streaming, is that a lot more scripts are written before you start. Because they are planning on allowing it all up at one time, you have four or five scripts to read and an outline of where it's going to go. The writers aren't chasing their tails as much. You're able to see the beginning, middle and end of a storyline, and that is rare. Streaming allows that, in a way that network TV doesn't.

As we step out of the way new things are born.

Well, at the time, you have to remember that we were not successful. The Showtime offer, as it was presented to me, was half the money for half the show. I was not interested, at that point, in doing a smaller cast and a more simplified Arrested Development.

Rest and activity are the steps of progress.

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.

There are a lot of scripts that you can like, but rarely are there directors attached when you're in development with something and that's stressful.