I would rather be attached to well-made, big-budget films.
The thing with the Bourne movies is that they're so big in scope and the production value is so high and it takes so much organization.
We're a very expensive group; we break a lot of rules. It's unheard of to combine opera with a rock theme, my dear .
I always wanted to make cinema which will entertain the masses, cinema that could be called escapist but is mounted on a realistic scale with high production values.
I would never give up 'The Wire,' 'Breaking Bad,' and 'Game of Thrones.' I'm grateful for all these expensive, excellent, graphically ambitious programs.
You have to have pace, you have to have high production values, you have to have interesting graphics, and you have to have attractive people. CNN could afford not to be so obedient to those commands, and for a long time, it wasn't.
The thing about 'Spectre' is that it is not the work of hack writers. It does not have a hack director. The actors are not hams.
Obviously, when you come to WWE, the level of spectacle and production in what we do is far and above anywhere else I worked, so it's kind of cool to be a part of the big show now.
[ Felicia Day] is really figured it all out, and it was impressive. It was nothing like our set, because her set was like working on a real film.
When I get back with band, the lights, and the whole production, that's me with the full artillery. A quick radio performance keeps me sharp for the big show.
I don't think there's any show comparable to 'Game of Thrones' in terms of the way it does the fantasy element to such a high standard: everything is created with so much care and detail. You really feel like you are transported into this entirely other fictional place.
What do you spend $200 million on, with a film? I can't wrap my brain around that one.
'Upstairs Downstairs' and 'Downton Abbey' appeal to people because they're about our history, they look so beautiful, are written by amazing writers and have high production values.
I find shoestrings very hard work. I like big budgets.
At the time we did 'Night,' I was a director of television commercials. Some of them cost a lot more than our whole movie. They were very slick, sophisticated... we wanted the opposite look for 'Night.' We wanted it to look like a newsreel.
One of the nicest things I ever read about our show was that a critic felt 'Boardwalk Empire' could be the beginning of the blur between television and cinema, because the production values are so high and the storytelling is so compelling.
