Content Development Quotes

If I focus solely on developing new material, then I can get a new 45 minute to an hour in about six months. Then I'll work on it and work on it and can make it killer within another six months or so.

I think television scripts have become really intriguing and well-done. And writers have stopped drawing any actual line between film and television they used to never cross.

Going home helps the content.

I will say that Vertigo is an area of great interest to me. It is even less well tapped than other parts of DC, and could potentially offer amazing stories for our future television video game, digital and consumer products businesses.

I see myself stepping more heavily into the producing world. I like having that control, and being in control so to speak, and being part of picking great material and bringing it to life.

TV is a hard thing to do. It's a hard thing to get a show.

It's rare to find a corporate partner who encourages true creativity, but our meetings with Lionsgate's creative team convinced us that this is the right move for RocketJump and our millions of fans.

Design cannot rescue failed content.

The more you progress, the more you learn. I try to pay attention to ticket counts, draws, guarantees and bonuses. I look at my deals closely these days and try to come up with other projects and ideas, since this business [comedy] is about creating content.

I wouldn't necessarily say that 'Alpha House' or 'Betas' embodied a particular vision of Amazon of the kind of brand or programming they were gonna do. I think those were the first lucky creators who hit it right for them.

I don't think you can really make television based on what you think audiences want. You can only make stories that you like, because you have to watch it so many times.

I think the biggest issue for legacy media - both TV and film - is that it just costs too much money to develop a TV series or movie. And most of them don't work. Then the one that works has to pay for the rest.

We are busy planning the launch of the channel. I am busy planning all kinds of events that go on the channel without me. I have started producing a sound for the channel.

To understand this whole area, you have to stop thinking like a viewer and start thinking like a network programming exec.

A very good editor is almost a collaborator.

Our goal is to focus on the unique points of view of our show creators but make shows that have broad appeal.

Earwolf had approached me a long time ago, even before I had started the 'Pod F. Tompkast.' I knew that I wanted to do a podcast, and I knew everyone there and that it was something for me to do, but I didn't know quite what I wanted to do yet.

I think network television is really hard because it has to sail right away. HBO's so much more nurturing, patient. They think it takes a while for a show to kind of congeal and figure out what its strong spots are.

I spend a lot of my time just developing material; or the company does. That material can come from a book, can come from a newspaper, can come from a discussion and sometimes it can come from a script that got passed over and is floating around.

Two hours on television just doesn't automatically happen. I'm up early, I'm reading newspapers online, talking to my staff, coming up with ideas.

Andrea Schulz became my editor in 2009.

It's the hardest thing to come up with an hour of material that can consistently keep people laughing.

Once you figure out what your own thing is it's all about trying to develop shows, programs that can, I guess, enhance what you already have and what you can add to Hollywood.

I would love to. A dream of mine is to produce films, as well as to produce content for television.

There's three things that you need for virtual reality to work. You need the hardware that's affordable and doesn't make people sick, you need an audience that is willing to pay for it, and you need the content.