In just six weeks from the time the design was started, we had the motor on the block testing its power.
Television has spread the habit of instant reaction and has stimulated the hope of instant results.
I really can't make no wrong moves out here, because just as quick as you can get people to love you, you can get people to hate you.
I did a string of about six or seven Elvis movies, all in a row. He made all of those movies in two years' time. All of them bad. Don't quote me.
The downside to making movies at a gallop like we did with 'Wish You Were Here' is that we're shooting four or five scenes in a day, and it's very exhilarating, but you worry at the end of the day that you missed some details because you were moving too quick, and you just gotta trust and be ready straightaway.
I feel like I am very drawn to the short form stuff because it's just fun to be making something, and then, a week later, it's out. I will always be drawn to that kind of thing.
I came out of the failure of 'Mister' rather fast. It took me just three days.
Right now, nearly all the apps on Facebook take a week to build. No more.
If you write a movie for Roger Corman, it's going to get made. You saw it almost the next day.
In Silicon Valley, you want things done instantly.
We're living in a world where the response is really instantaneous, even though it's delayed by a few months. It comes at you pretty fast.
I'm always in awe at how fast television is and how quickly you're called upon to be 100 percent invested in a character with the lines.
I don't want it good. I want it Tuesday.
When I finish something, I want it out that day. Pop music is like the daily paper. Its got to be there then, not six months later.
Combine that with the fact that we only had one week to get everything taken care of and to get to know one another, whereas most shows get two weeks. It looked like we would never have a chance.
We've been involved in a lot of albums that were really rushed at the end.
If you get out back-to-back in T20s, it proves costly.
I was just fooling around with the piano and Todd [Phillips] was like, 'Hey there's a great spot in the movie [The Hangover] where we need a little bit of a breath in the narrative. You should write a song and stick it in there.' And I was like, 'Well, what should the song be about?' And he said, 'The tiger.' 'Oh, okay.' So I went off and I wrote this song. I came back and Todd and I tinkered with it a little more and then we shot it right then. It all happened in a day.
It's always difficult, when you have such a quick turnaround and a long flight, to try to get ready for a game so quickly.
I defy anyone to get a decision that quickly these days.
If I can finish a cartoon in 20 minutes, then that's the ideal editorial cartoon - it's to the point.
After a Saturday game, we're in on a Sunday to cool down and make sure we're fully back at it again. But it doesn't really affect things too much. It's basically like you've had a game on the Saturday, and then you're in the cup on a Tuesday.
They say anything can happen in a short series. I just didn't expect it to be that short.
Television moves fast, and you don't have the indulgences you have when you're shooting movies of so many takes because there are tight deadlines.
In fashion, the time is so short, and even with pre-collection, there are not only dresses, shoes, bags, and furs but now raincoats and T-shirts. It's just an endless amount of work that we have to produce in no time.
