We knew all along we were making a good show, so its success was not a surprise to me. What has surprised me is the magnitude of this show's success. More people see me now in one episode than saw me in 20 years of movies and theater!
When the first episode of 'Mythbusters' aired in 2003, I couldn't drive a car. I couldn't see a R-rated movie. I was 14 years old, and I couldn't do much of anything. But 'Mythbusters' taught me that I could do science.
If you watch '90210,' you see my hair changing every episode - I've chopped it off, and I've kept it long. I've done it all to my hair on that show.
We worked under a lot of pressure... three days to do an episode, sometimes two in a week, 39 episodes a year.
When I'm working in finite serials, I always think in terms of the entire book rather than the individual episode because, by far, the vaster sector of the project's lifespan will be in complete book form rather than the singles.
I knew Scotty was going to win. At the beginning of the episode, I was like, 'Scotty, are you ready to win?'. I knew he was going to in my heart. I accepted it. I couldn't pick a more perfect person to get second place to. He's my best friend.
You know, it's a big version of an episode, which I think is necessary at this point because we're drawing in people who not only people who have seen the show before and are devoted to it, but people who have never seen it before.
To all my soap fans out there, my horror fanatics, comedy lovers, I will tell you this: 'Death Valley' is an action-packed drama, comedic, horror TV series that has a non-stop adventure in each episode. It's like a huge pot of Texas gumbo. If you like all four of those genres, then you'll love this show.
I feel like it's a dangerous and dark world if 'Sunny' becomes mainstream comedy. If you were to turn on CBS at 8 o'clock on Thursday and see an episode of 'It's Always Sunny In Philadelphia,' I don't know if I want to live in that world.
It is like football with coaches, like, 'We're only going to think about the next game.' It is really true, all you think is, 'Okay, we have to make a good next episode.'
I think I approach my choices much the way I approach the way I consume movies and TV and stuff. I like everything, and sometimes I'll feel like a horror movie, and sometimes I'll just feel like an episode of 'Hoarders.'
'Vegas' was something very close to me. I had such a blast doing that. I'm still a little upset that we never really got to shoot that final episode. So many people were invested in it. I'll always be sad about that.
It's very different doing a food show in America and doing one in Britain. I did a 20-part series for the BBC series called 'Eating With the Enemy.' The budget for all 20 episodes was probably the budget for a single episode of 'Top Chef.' It's the difference between making a home movie in your backyard and going to Hollywood.
One of the tricky things about running a TV show is that you just never know how good the guest stars you cast on a weekly basis, how good they're going to be in the episode. Sometimes they surprise you in good ways and sometimes they surprise you in disappointing ways.
If you look closely at 'Breaking Bad' and any given episode of 'The X Files,' you will realise the structure is exactly the same.
A mother deserves a day off to care for a sick child or sick parent without running into hardship - and you know what, a father does, too. It's time to do away with workplace policies that belong in a 'Mad Men' episode.
I love the sitcom schedule. It takes a week to make an episode, but we don't work on weekends. I'm usually done in time to get home for dinner with my wife and daughter.
I directed an episode of Touched by an Angel a couple of months ago, and I will be doing more of that. I just like to keep a bit of variety going; it keeps things interesting.
I think the things I wanted answered have been answered by people in the know that we can't talk about, so I'm perfectly happy with how Chewie came to be where he is and what is going on in Episode III.
I just remember watching 'Brass Eye' and being so utterly blown away by the scope of it and how much it managed to cram into an episode.
I want every episode to feel like we still haven't done this right yet.
I think 'Game Of Thrones' has been genius, and I really don't want it to end. Every episode is huge. It's totally immense, and the actors are all fantastic in it. It has totally drawn me in.
I wouldn't want to be in a Lisa episode. They're kind of boring. Maybe a Homer one would be better.
My first reaction every time I delve into an episode of history that I don't know very much about is... my first reaction is anger that my teachers never taught me about it.
When I was 16, I filmed an episode of 'Full House' where my family goes to Disney World. I remember putting on baggy overalls just to hide my stomach. When I watched it, I was pretty disappointed and bummed out looking at myself... I didn't feel good about my own body.
I'm not supposed to talk about the snail. The snail is, well, congratulations to whoever noticed it. It's supposed to be a thing where you gotta look for it in every episode, and it's there three times in every episode.
If I watch an episode of SNL, and there's one thing that I liked, then that's a good episode.
I was doing 'Homeland' and read the first two episodes, and all I wanted was episode three to know what would happen next.
You can't TV surf without coming across an Andy of Mayberry episode where you've just got to watch Don as Barney. That's why I put Don in several of my movies.
I think that episode in the third season was great. I'm really glad that we did that. He got to sleep with Sydney and kill Evil Francie and go on a mission and pretend he's a rock star.
I try to approach all episodic work the same. No matter the content. I look for a dramatic or emotional spine to the story I'm telling, something that stands out to me thematically about the episode and its relationship to the rest of the season/series.
I wrapped that Monday and started on my third episode for Miss Match on Thursday of that same week and we just wrapped yesterday cause it was split over the holiday.
We get so many requests like, 'We want behind-the-scenes access,' or 'We're going to show people what it's really like to be on the campaign with Donald Trump.' But there is just no way that a camera or an episode or a documentary could capture what has gone on.
Why does everyone think the future is space helmets, silver foil, and talking like computers, like a bad episode of Star Trek?
The most difficult story that I've ever been involved in breaking on any of my shows was 'The Constant' episode of 'Lost,' which was when Desmond was consciousness-traveling.
I've been told that no one knows what happens in the future on 'Game of Thrones.' To my knowledge, I've shot one episode. So I'm as excited as anyone else to find out what happens.