Fast Turnaround Quotes

In the TV business, you've got to write fast, and someone will tell you, 'Can you rewrite this episode before... 6 P.M.?' So that's when you rewrite it. You can't wait for the muse to show up.

When I did 'Ferris Bueller's Day Off', I had the idea on Monday and the following Tuesday it was in budget at Paramount. I couldn't walk.

I got to learn what does and doesn't work on screen. Because the turnaround is so fast, there's no messing around. You have to be on the ball.

When I graduated from college, I got a 9-to-5 traditional job doing social media for a company, and I'd spend all day long fighting with the system of getting things approved and the fact that social media has such a quick turnaround. Things had to be very reactive and instant.

The short film project I just finished for W Hotels and Intel, I didn't have my script finished until a few days before we began filming. We edited it very quickly and now it's up online. It was great to conceive an idea and have it premiere just a few weeks later, compared to a feature, which takes a year or more.

For a long time, it was like I was part of some special forces unit: I'd land, meet everyone, five minutes later I'd have to do some amazing work, then - boom! - I'm out again. You know, playing supporting parts takes courage.

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.

Dictum on television scripts: We don't want it good - we want it Tuesday.

The deadlines are much, much longer with books. When I was a reporter, a lot of times I'd come in at 8:30 a.m., get an assignment right away, interview somebody, turn the story in by 9:30, and have the finished story in the paper that landed on my desk by noon.

We said we could do a full episode - find the car, build it, complete it and shoot it - in two weeks.

Usually with something like 'The 100,' because you're working so much and every day, and they'll change the drafts quite quickly, we'll go through maybe, like, 12 different versions of the same scene over a week. So there is no point in learning it on a Tuesday when on a Thursday it might be completely different.

Studio films are really fun. You have months and months to shoot. With the smaller films you get to be on a much more intimate set and have to get things done quickly.

We did 'Bricks' and 'Ridiculous' all in one day. Gucci came here, like, 8 in the morning - we were done 4 the morning the next day.

Every movie is a commitment of a year or a year and a half. Commercials are much faster than that because they're much more contained. You can get in and out really fast, and you do a piece of work the you see the end result very quickly.

So when 'Skatetown' came up at Columbia and Ray Stark's studio, the idea was to do it quick. They wanted it out in the fall, and they gave me the treatment on July 4th weekend! I wrote it in four days, and, you know, it kind of looks like it.

Historically, for a stop-motion film, you gathered the crew together, you made the movie, and then everyone ran screaming to the next project.

In the Internet world, especially in Silicon Valley, everyone is at the ready all the time, and turnaround is relatively short, if not instant.

I've been on sets where the turnaround is so fast and the budget so small that the actors have been asked to speed things up and save money by changing in the public toilets. There's no room for vanity at times like that. It's the best way: get on with it!

Thank God there is a such thing as hiatus. We got the first 'Dr. Horrible' done in six days, we banged it out.

I did 'Nobody Walks' right after 'Dredd.' Well, actually, I got off the plane from Capetown where we shot 'Dredd' and tested for 'Being Flynn' that same day. Then I came out to L.A. to make this film right after that so it was all very back to back.

I think a benefit is that we try to put it up in a short time. From the decision to do this mission until we fly, it's six months and one week or so, so it's a very short time.

Those are fun, especially if they're going to shoot them in four weeks, because you know they're not going to mess with anything you do, so it can be very imaginative.

I wanted to have a creative director crazy enough to say, 'Sure, I'll do a collection in five days.'

We were all thrown together on this show very rapidly, there was casting then a few days later a meeting where we all got to read the scripts and meet each other. Literally days after that we were on our way to Dallas.

I like the energy of doing things fast. We shot 'Starred Up' in just four weeks, and we edited it in four weeks.