Quotes About Adaptation

I think competition turns people into what they normally wouldn't be.

People always talk about my heel/face turns. One of the jokes in America is I've had more turns than NASCAR.

Somebody showed me a picture of some event I went to back in the day, and I was really going heavy on the turquoise jewelry, and it was not good. I was like, 'OK, I guess that was a phase that needed to happen.'

I actually think I'm more of a turtle than Verne is. Where Verne is up on two legs and moving at full speed and doesn't pull his head into the shell very often, I in reality was five or ten minutes later to every recording session.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

It's a great pleasure having survived six generations of TV critics.

I was born Maurice Joseph Micklewhite. Imagine signing that autograph! You'd get a broken arm. So I changed my name to Michael Caine after Humphrey Bogart's 'The Caine Mutiny,' which was playing in the theater across from the telephone booth where I learned that I'd gotten my first TV job.

There are a lot of things about the TV industry that make you try to change who you are to fit into a certain mold.

I don't have a good memory, so learning all the songs for my TV performances was a real challenge.

I always liked 'Johnny Blaze,' but we announced it on TV, and it was under copyright by Marvel. Then I had 'Johnny Spade,' and that name sucked, then I had 'Johnny Nitro.' Johnny Nitro was one of my favourite names.

By the time I started doing TV and film, I was in my forties, so I wasn't going to do the young up-and-comer.

I forced myself to watch Spanish TV and listen to Spanish radio all the time. I think I'm lucky because, for whatever reason, people from the Balkans seem to have a talent for learning languages.

I did a whole lot of work before taking up my first movie. From TV commercials to Telugu films, I learnt a lot from them all.

If you're advertising on Facebook, the work you're doing should be made better by being on Facebook. You can't just be repurposing old TV commercials and hoping to get traction; that's very primitive. The question, always, is, 'How is this idea made better by this medium?'

We've always dreamt of a TV series and working in film. When we first sat down to seriously write 'A Little Nightmare Music,' to write something for TV was our original inspiration. But all the stuff we were writing down is not going to work on stage. We had to rewrite it so it would work on the stage.

I know what it takes to go from the point where someone's looking at a newspaper article, and thinking, 'Oh, this would make a great TV series,' to the point where you're actually on a set and there's a camera aimed at someone.

I am currently talking to one of the studios about making American Star as a TV series.

I lived in Holland for one year when I was younger and, although they speak Dutch there, I learned a little bit of English while I was there, but really I learned from movies and TV series like '24' and 'Prison Break.'

When answering questions over the years about film and TV adaptations of my books, I have always maintained that no movie or TV series could ever change or damage my work.

You know, you never say never because before I did 'ER,' I always said 'I'll never do a TV series,' so that's what I said.

It's a challenge every year with a TV series. You want to keep evolving and keep it going. That's part of the fun.

Whenever we start a new TV series, there's also a lot of question marks, and part of that is finding who you are.

I rip off of every movie and TV show I've ever seen in my life.

I've never been on a TV show for more than a season and you have to continually keep it interesting and you have to keep it connected, even as you change.