A big part of the job of being a showrunner is, in my way of thinking, being a good communicator because there's really no other way to have hope for getting what you want, at the end of the day.
Vince GilliganRead
A typical TV show is always about protecting the franchise - it's all about stretching it out as long as you can take it. And it's about taking the characters in any given hour as far as you can take them, but then resetting them more or less back to zero so at the beginning of the next week, so they're still the character you know and love.
Interpretation
This quote discusses the formulaic nature of TV shows that prioritize franchise longevity over character development.
Vince Gilligan's quote highlights a common trend in television where shows prioritize the sustainability of their franchise by extending storylines and character arcs, only to revert characters back to their original states by the next episode. This cyclical approach allows audiences to feel comfort and familiarity with their favorite characters while maintaining the show's ongoing success, but can hinder deeper character growth and storytelling.
In practice
This quote could be used in a discussion about the quality of modern television storytelling.
A big part of the job of being a showrunner is, in my way of thinking, being a good communicator because there's really no other way to have hope for getting what you want, at the end of the day.
You don't make a movie by yourself; you certainly don't make a TV show by yourself. You invest people in their work. You make people feel comfortable in their jobs; you keep people talking.
I never thought anyone would come up to me and say, 'I like 'Better Call Saul' better than 'Breaking Bad.'' If you had asked me before we started, 'Would that bother you if someone said that?' First of all, I would have said, 'That's never gonna happen. And yeah, it probably would bother me.' It doesn't bother me a bit. It tickles me. I love it.
The sad truth is, there's more Walter White in me than I'd care to admit, because if I truly was as kind as people think I am, I wouldn't be able to write Walter White.
For many decades - and this was reinforced by the broadcast networks' standards-and-practices department - bad guys on TV had to get their comeuppance, and good guys had to be brave and true and unconflicted. Those were the laws of the business.
I'm very glad people love 'Breaking Bad,' but the harder character to write is the good character that's as interesting and as engaging as the bad guy.
Why be in music, why write songs, if you can't use them to explore life or an idealized vision of life? I believe a lot of our lives are spent asleep, and what I've been trying to do is hold on to those moments when a little spark cuts through the fog and nudges you.
I'm sad to see celluloid go, there's no doubt. But, you know, nitrate went, by the way, in 1971. If you ever saw a nitrate print of a silent film and then saw an acetate print, you'd see a big difference, but nobody remembers anymore. The acetate print is what we have. Maybe. Now it's digital.
The earth doesn’t care where death occurs. ...It’s the artist, by coming in and writing about it or painting it or taking a photograph of it, that makes the earth powerful and creates death’s memory. Because the land will not remember by itself, but the artist will.
In the theatre, every form once born is mortal; every form must be reconceived, and its new conception will bear the marks of all the influences that surround it.
The picture is all he feels about it, all he thinks worth preserving of it, all he invests it with. If all the qualities which a painter took from the model for his picture were really taken, no person could be painted twice.
For it would seem - her case proved it - that we write, not with the fingers, but with the whole person. The nerve which controls the pen winds itself about every fibre of our being, threads the heart, pierces the liver.
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