Quotes About Episode

I haven't worked on a lot of different shows, but from just watching different shows I've noticed that there isn't necessarily on every show that love of crafting an episode that has the three part act structure that comes around and actually tells a complete story.

On our return from Oxford, no further reference was made to the morning's episode. In the family tradition, it was brushed under the carpet with many other dusty remnants of psychological and emotional detritus, regarded as being too insignificant to merit any consideration in that rarified atmosphere where emotional issues were never discussed because of the threat they might pose to the intellect.

Now I release an episode of the Waking Up podcast more or less every week.

Once we subliminally accept that we are watching a reality show rather than thinking about real life, no image can actually hurt the president politically. Reality television must become most dramatic with each episode. If we found a video of the president performing Cossack dances while Vladimir Putin claps, we would probably just demand the same thing with the president wearing a bear suit and holding rubles in his mouth.

It's interesting the whole Kardashian thing with 'Offspring' because really my choices - with my costume designer - for every single episode are based on the emotional journey of that episode for the character.

I've been lucky enough that in the U.K., I've done shows that have aired once a week. I make a show there that runs seasonally, and we make one episode a week, and that is great - the value of time. You can really think and finesse what you want to do.

One of the best parts of Thanksgiving for me is re-watching some of the classic holiday blunders that have been depicted on television. I remember laughing uncontrollably on the set of 'That Girl' back in 1967 when we shot the episode, 'Thanksgiving Comes But Once A Year, Hopefully' during our second season.

I'm not somebody who goes online after every episode airs because that would be, for me, getting too much feedback and too much information.

One episode of 'Game of Thrones' is equivalent to my film 'Centurion' in budget and scope. 'Centurion' has a longer running time, but that's kind of the only difference, and I think people now, if they want drama, they watch TV.

I eluded them, therefore, with no great expenditure of physical effort, but I would be deceiving my public if I said that I was enjoying the episode. It offends one's pride when one has to leap like a lamb in Springtime at the bidding of an elderly little Gawd-help-us with whom it is impossible to reason.

If you didn't cry in season four's episode 'The Constant,' something is wrong with you; you were either distracted or, worse, it is possible you have no soul.

Our value proposition to consumers is so much more about completeness than freshness. Having the complete season is so much more valuable, in our business model, than having last night's episode.

I can't say too much about it because I don't know a lot. We're not told what's in store for our characters until we turn up to shoot the episode. But it's fair to say that Betty and her son bring a brand new mystery to the street and they will be around all season.

I would not want to do one-episode television - that's just a brief encounter with your audience. The arc takes the actor into an arena where he can really stretch.

The key to any good comic strip or television sitcom is to reset the board at the end of the episode because people like familiarity.

The centerpiece of 'Law and Order' is the crime, and it starts with the writing. There's a beginning, a middle and an end. It allows the audience to watch any given episode and can drop right in and not feel lost. I think the stark, raw structure has a lot to do with its longevity.

I fear this little episode does not speak very favourably for my business capacity in those early days, for I certainly ought to have made much more than I did by this really important invention.

All in all, I wouldn't call it a bad outing. It was a short outing.

Music definitely gave me a focus. I was an artist without an outlet. Let's just say if I was not famous, I could have been infamous. I could've had my own episode of 'American Gangster.'

To the anthropologist, there's no such thing as a singular episode, a singular phenomenon – only a set of variations on generic ones; the more generic, therefore, the more pure, the closer to an unvariegated or unscrambled archetype.

The symbolism of this strange episode remains obscure until, in the New Testament, Jesus explains it to Nicodemus:

On hearing that she was to continue to act as Malcolm Sage's secretary, Miss Gladys Norman had done a barn-dance across the room, her arrival at the door synchronising with the appearance of Malcolm Sage from without. It had become a tradition at Department Z that "M.S." could always be depended upon to arrive at the most embarrassing moment of any little dramatic episode; but it was equally well-known that he possessed a "blind-side" to his vision. They called it "the Nelson touch.

I'm so proud of this show and I'm really stoked that fans were so enthusiastic about the show so quickly. I mean, I got recognized for 'Arrow' at the airport when I was headed to Vancouver to shoot the second episode. That was kind of crazy.

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.