Best 1632 quotes in «television quotes» category

What really, really inspires me is that you don't see many black superheroes on television.

What's so great about making television is that it's a collaborative beast. It's created by a great many hands belonging to a great many people.

What's the best way of communicating in the world today? Television? No. Telegraph? No. Telephone? No. Tell a woman.

What this generation was bred to at television's knees was not wisdom, but cynicism.

When a country wants television more than they want clean water, they've lost their grip.

Whenever you're doing film for television and you look at the budget that you have, which is much more constricted than a movie budget, you think, "God, are they going to be able to do what they say they are?

When I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next.

When I finished the series, I wasn't going to do television again. I never wanted to do television to begin with, and I was so exhausted by the process that I was wary of being in front of the camera again.

When I first came to Hollywood, I used to dream of doing films and escaping television.

When I grew up there was no web, blogging or tweeting. In fact, where I grew up there was not even television! I met a lot of my friends in school and in college, and they are still my friends today.

When I'm not working, I am the laziest person. I can literally lie on a couch and watch television for 15 hours.

When I perform on stage, you have to remember my performance or buy another ticket to the party! In television and film, you can see it over and over again.

When I read a story or see something play out in front of me I say, how come nobody's made a movie or a television show out of this? This is something that belongs in the conversation. Certainly that's what interests me about a project.

When I saw Elvis on television, I just fell in love with him completely. As a singer, I want to be able to relate to an audience like this man does. Of course, nobody can - he was the best there ever was.

When I started, there were no big interviews, no television, no profiles and all that. The publishers were quite shockingly uncommercial, but they did look after their writers.

When I said on national television I still struggle, a reparative therapist called me and said if you'll come into therapy with me I can cure you of your temptations and attractions 100 percent. And then there are the offers of using homosexual pornography within the therapeutic process to help people understand why they're struggling.

When I wanted to change the concept of what I was doing, I needed to be more public because it involved more people to collaborate. And I'm doing television now. I have to be honest, I was very afraid to do TV. I said no for 10 years.

When I was a kid there were a very select few channels - programmes had to have more of a large appeal and they just didn't offer very much. Now you have a situation where the television world has expanded and there's hundreds of channels.

When I was a child - in wartime, pre-television - books were my life.

When I was about 9, I had polio, and people were very frightened for their children, so you tended to be isolated. I was paralyzed for a while, so I watched television.

When I write a film, the film gets handed off to a producer and a director and I go my merry way. With television, I am expected and contracted to stick around and actually produce what I've written.

When I was in my 40s was I simply produced my own movies because no one offered me anything. But certainly after 50 it's hard for a woman, which is why television is such a welcoming thing.

When people asked me what I did for a living, I told them I make pilots. They thought I was a stewardess.

When movie people go over into television, it's a little bit of a shock. It's much faster-paced. Everything is really last-minute. You won't know your schedule for the next episode until the last minute.

When I wrote 'We Can Be Heroes,' I was just so excited about the concept of playing loads of characters, and a television series allows you to do that.

When Peter Beardsley appears on television, daleks hide behind the sofa.

When there's a painting in the room, my eye goes right to it. It's like if you go into a bar and there's a television on, you can't take your eyes off the television. Paintings have that effect on me. It's where my eye settles.

When television came in, everybody thought that was the end of the movie business, which was not and is not.

When the internet came along, everybody said it would mean the death of television, newspapers. There is a dip, and it comes back to a new normal. We're in the dip; we're waiting to see what the new normal is.

When the machine of a human being is turned on, it seems to produce a protagonist, just as a television produces an image.

When we started talking to our actors and to our directors, this is with all due respect to the film, if you want to know what we're not doing, go watch the movie. If you want to know what we're doing, it's very much steeped in the world of the comics, but it also has a life of its own and that's really what television and our films really do is that we take the best....We hope and we're very confident that this is the beginning of something that's very exciting on Netflix.

When we're not trying to kill each other with spells, we just sit in in Daniel's dressing room watching cricket games on television.

When you do television, there's more to do, and when you do new television, there's a lot more to do, especially when you don't have partner. I miss not having that person.

When you do a television show in the States, you get the pilot, and then it's the great unknown. That's the way it is. It's this great leap of faith. It's the Russian roulette of art.

When you find any great project - if it's onstage or it's a movie or a television show or whatever it might be, if it's wonderful, then that sort of transcends what the medium is.

When you're tied to one show, you are very much at the mercy of the writers so you can suddenly get a script where you have a heart attack and die. I've got to be in The Guinness Book of World Records for having the most heart attacks on television.

When you're doing a movie, you're in and out of there in three months. If you hated the experience, it's all good because you can take the paycheck and leave. But, on a television show, you have to love your character and you have to love the experience because you could be there for awhile, fingers crossed.

When you're shooting a network television show it inevitably starts airing a few episodes in, and depending on the ratings and the response from the public, you find yourself tweaking your performance or the scripts go in a different direction.

Where every day doesn't start with an alarm clock and end with the television.

When you spend many hours a week working with the same people - I mean television operates on really amazing hours and the gift of that is the trust that you feel and the intimacy that you feel with the people who you're working with.

Why is it that adults are always telling kids to go watch television as though we have nothing better to do?

Whether it is television or film, the character on the page has to speak to me.

Whether it's the internet, radio, television, there are always areas of debate, but you have to accept it. The media now has become an absolute monster.

Whether or not you love television, you've got to admit that it certainly loves itself.

Why do some people stop growing at age 30, just going from work to the couch and television, when others stay vibrant, curious, almost childlike into their nineties?

Why something in the public interest such as television news can be fought over, like a chain of hamburger stands, eludes me.

Whether it is television, radio, newspapers, magazines, books or the Internet, a few giant conglomerates are determining what we see, hear and read.

Whether it's movies or television that I've directed, or characters that I've played, I'm just always fascinated by the moral ambiguity inherent in life.

While theoretically and technically television may be feasible, commercially and financially it is an impossibility.

With a television series, there's a hard deadline, and so you have to write even when you're not writing well.