I think the model of The CW Network is really built on the fan platform more than anything else. The success or longevity of a series has less to do with the number it's pulling and more to do with the social footprint... There is a lot about the fan support on a strictly business level that's really powerful for that network.
'Boldface' is a pilot term, a magic word to describe the procedures that could, in a crisis, save your life. We say that 'boldface is written in blood' because often it's created in response to an accident investigation. It highlights the series of steps that should have been taken to avoid a fatal crash, but weren't.
I've done a show at the Largo Theater called The 'Thrilling Adventure Hour.' We read, like, radio teleplays. It's a send-up of radio dramas from the '30s and '40s. We just did a Kickstarter for that so that we can do a web series and a concert film.
'The Muthaship' was an experiment. All my friends are working at Endemol, so they just kind of pushed me into it to see if we could shoot a little web series on an iPhone - and that's what we did: we shot it on an iPhone. So it's so experiential and so silly.
I had been working on this series called 'Everything Dies,' and it was basically me doing non-fiction essays, responding to religion and stuff like that, and I really got into this ideas of telling factual stories via comics.
What's interesting to me is how many vampire/urban fantasy authors are writing young adult series as well, often set in the same world as their adult books, but focused on a younger audience.
When I started 'City of Bones,' I knew exactly what was going to happen in 'City of Glass.' When I first started the six-book series, I thought of it as a three-book series.
On a smash TV series, you make much more money than you ever can in a movie. Do you know how much more Bill Cosby will make than Spielberg? The money for successful television is unbelievable.
Some people cheer me on. Some people want me to do more Korean movies or TV series.
The more you create, the more ambitious you become with your projects. Short films were a direct result of over 200 web series sketches and vlogs. After you create enough 2-minute videos, you start to wonder what else there is. Deadlines and discipline and quantity with a focus on quality have always been what keeps me going.
The original 'Edge of Darkness' was fantastic, a fabulous series. It was of its time, but this film version shows that times really haven't changed.
I always think a successful television series is the best job because it gives you community, it doesn't demand temporary insanity the way movies do, and you can be almost a normal person.
The object of our prayers should not be to present a wish list or a series of requests but to secure for ourselves and for others blessings that God is eager to bestow, according to His will and timing.
I essentially started out with a Western series for WildStorm/DC but didn't want to be perceived as a 'Western artist.' I did a couple of super-hero things at Marvel but didn't want to be one of those guys, either. I loved all these genres and wanted to play in a very big toy box. Enter 'Planetary.'
How the original 'Cosmos' affected me personally was long-term. I wasn't born early enough to see the original series, but after getting a hold of it in my teen years, it was one of the driving forces behind my passion for science.
If you find a series of linear shapes in the same alignment as known archaeological features, and they match excavated examples, you still need to excavate to confirm, but you can be fairly sure that the imagery is accurate.
I'm a workaholic. I love every movie I've been in, even the bad ones, every TV series, every play, because I love to work. It's what keeps me going.
I most enjoyed doing 'Whites,' a show BBC2 cancelled after one series. It had some beautiful, witty, charming scripts and was one of the most positive ensemble pieces I've done. I thought the end result was really special. I'm still confused about why it didn't last longer.
I've actually always been interested in following a character more long term, but the only place to really do that as an actor is on a TV series.
The way I see it, the third series of 'Downton Abbey' is all about change and how each character adapts to those changes.
I spent most of my life watching HBO series wishing that at some point in my career I might be able to work with them.
After defining an idea of what I want to achieve, through a series of storyboard images, I'll go to the ends of the earth to create it, whether that involves obscure camera lenses or the latest electronic techniques.
I've been in three sort of... I mean, I'd say they're groundbreaking series, if only because of the creators. One was 'Max Headroom', another was 'The Larry Sanders Show', and the third was 'Arrested Development'.
I never talk about books in progress. I could decide to change it to a series of seafood recipes, after all.
The phone conversations about a possible TV series of 'Jonathan Strange & Mr. Norrell' stretch back years, but now that the moment has come, now that I am actually here at Wentworth Woodhouse, I lose my bearings.
You're working with the same people, and there's a lot of recognition. I like to do series best. I really do.
I'm going to go do a Netflix series. It's straight-to-series, 10 episodes, probably go for three seasons. I'm going to direct the pilot and hopefully the last episode of the first season. The show is 'Seven Seconds.'
I've worked with multiple directors throughout the 'Saw' series with a lot of conversations as they bring their particular installment to the screen. If I've been able to do anything throughout the course of these films, it's been to help shape dialogue and to try to make things as delicate and as intelligent as I can.
I am up for anything, but my favorite show in the whole world is this English series, 'Skins.' It would be awesome to be able to go on that somehow.
It was great fun being part of a TV series that I'd been a fan of for five years. I've been watching it every single Monday when with my wife. It was like a ritual - every Monday night on HBO Nordic, we would watch 'Game of Thrones' together.
I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.
It just tends to be that the grass is always greener. If I'm doing a movie, I suddenly think, 'Oh God, I wish I could just get a play script I could get my teeth into.' If I'm doing eight shows a week in a West End musical, I think, 'God, how lovely it would be to be in a TV series right now.'
When I'm in heavy-duty writing mode, there's something great about reading a series. Soothing, but not distracting too much.
I think I set myself on a course to become a scientist around about the time that Carl Sagan's 'Cosmos' series was on television, and there really was no going back for me at that point, and then I went on to study space science and then get my Ph.D., then go aboard and work in the European Space Agency.
Luckily, I have been offered the chance to play a South American, Hispanic and even a character from the Middle East in films. There are also a lot of TV series in the U.S. that have a strong presence of actors from India.
I think the most significant change in my life is the decision to do a series. An hourlong dramatic television series on a broadcast network swallows you and chews you up and refuses to spit you out. You're making a decision that's going to be a profound and significant impact on the practical aspects of your life.
