One of the main pitfalls of any theoretically 'niche' show is that you spend too much time on the 'niche' and not enough time on the 'show.'
Reality TV started becoming big when I was in college, around 2002. I remember everyone kept saying, 'Man, you guys should do reality.' And I was always like, 'I don't know.'
The only thing that makes a book YA is that it is about teenagers, and it is written in a very conventional, non-artsy, non-pretentious way. YA is not the place for the oblique or the cryptic. If it is in any way experimental in form, it is not YA.
The idea of being on a show where each season stands alone, and you can come back the next year and show an entirely different aspect of your personality or your talent or your anything is an enormous gift that you rarely get in television.
'Bigg Boss' is one reality show which is a completely different format and pulls you out of your comfort zone.
No, Arrested Development was such an amazing experience in every way, and you know it was very unique in that it was a show that received a lot of critical acclaim, and yet we didn't ever achieve the ratings that we wanted.
With a reality show, the bottom line is, there's no plot; there's no finale.
It was more of their quirky show. It was more like a cult show. The ratings weren't really that high.
I don't like albums; I like projects. I want to tell a story - I don't want to limit myself to 10 songs or four songs or whatever. I just tell a story and I want you to feel something. If it took me one song or if it took me four, call it however you want. So I call them projects.
Graphic novels let you take risks that just wouldn't fly in the conventional book form.
The concept of 'The Voice' has received acclamation worldwide. There will be blind auditions where the coaches will pick contestants without seeing them. It will be a unique concept for the Indian audience.
Ideally a book would have no order in it, and the reader would have to discover his own.
Without always meaning to, I write really long short stories, 60-pagers, 90-pagers, pieces of fiction that are too long for all but the bravest magazines to print, and too short for all but the bravest book publishers to publish.
The best-case scenario is everything goes perfect and smooth, but we're also a new and weird show. So all my conversations were, "Hey last night didn't go perfect but we kind of know what we've got in store for everybody episode-wise."
We end the show with something that's never been on TV because it was too big for a sketch but we couldn't stretch it out to make a whole episode because it would have been too long, but we always thought it was really good.
Ideally a book would have no order to it, and the reader would have to discover his own.
What I love about podcasting is it's guerilla radio. I don't have to stick to anybody's protocol or format. I can operate my show just like I want to, but at the end of the day, it's just a can of audio whoopa**. My show is built to entertain.
Usually, when you get early versions of scripts, they are not very good. I found 'Borgen' amazing from the very first read-through because of how fast-paced and gripping it was. It felt more international because of the way it didn't dwell on the characters' personal lives as many Danish shows used to, but still, nobody thought it would travel.
Reality TV is anything but.
There was nothing about 'The Killing' that patronized its audience, and it was quite slow and detailed, all of the things which, for a long time, people had been nervous of making.
