Episode Quotes

In terms of my Indianness, I try not to rely on it nor deny it. When it comes up organically in my writing, we can address it. About five years ago, we wrote this episode of 'The Office,' called 'Diwali,' which seemed like an organic way of using it.

As far as I am concerned, the first episode of Buffy was the beginning of my career. It was the first time I told a story from start to finish the way I wanted.

Now I'm seen by more people in one episode than I was in 20 years of theatre and movies. It's gratifying to have an impact on 25 million people a night, but I can say goodbye to my lunch-pail life as a working actor. I'm scared I might be a celebrity.

For the third season, we do a sit around on one episode where we were in character and then we commented on one episode just being ourselves, so - not really. I was comfortable, though. I wasn't nervous.

Well, I must tell you I write the scripts very close to the bone. So I'm writing episode seven now and couldn't tell you what happens in episode eight.

I'm not supposed to talk about the snail. The snail is, well, congratulations to whoever noticed it. It's supposed to be a thing where you gotta look for it in every episode, and it's there three times in every episode.

Crime is one of the leads of the show. If there's ever anything that deals with a character's personal life, you don't have to worry about it getting too crazy. People don't have to worry about character arcs. Each episode is a self-contained unit.

Chimps are very quick to have a sudden fight or aggressive episode, but they're equally as good at reconciliation.

Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.

I wouldn't want to be in a Lisa episode. They're kind of boring. Maybe a Homer one would be better.

We're drinking my friend, To the end of a brief episode, Make it one for my baby, And one more for the road.

I've directed a fair amount of television series - so I'm always trying to learn new things. One episode was all hand-held and I'm trying to get better at when you should do things and when you should just shut up and watch what the people are saying.

We worked under a lot of pressure... three days to do an episode, sometimes two in a week, 39 episodes a year.

I grew up in the suburbs of Chicago, and in spite of what most people might have expected from a young girl growing up deaf, life for me was like one long episode of 'The Brady Bunch.' Despite whatever barriers were in my way, I imagined myself as Marcia Brady skating down the street saying 'hi' to everyone, whether they knew me or not.

It's funny, I had dinner with my dear friend John Spencer last night and I'm not in the first episode, but he's at the beginning of it and he was telling me about it and I thought this sounds very hot because I think this is definitely the last year of West Wing.

You don't have a lot of time; you have to get it right. It's amazing how they create these episodes in such a short amount of time. They lavish a lot of care and money on each episode, and they just look terrific.

With 'Twilight,' you have these massive tomes that you have to condense. With 'Penoza,' we had an eight episode Dutch series that, just for the pilot alone, I condensed three episodes. So, there's a lot of filling in and a ton of invention that has to happen to fill out eight episodes.

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.

We end the show with something that's never been on TV because it was too big for a sketch but we couldn't stretch it out to make a whole episode because it would have been too long, but we always thought it was really good.

I'm of the opinion that life doesn't always tie up neatly at the end of the episode.

Sex in the City was a different kind of phenomenon because of the show itself is a phenomenon and to me that's successful because to resonate with women across the board for six years and have only one African-American actor pass through for one episode.

Here's the thing: I did one episode of Deep Space Nine, and I loved everybody that I worked with. People couldn't have been kinder... But I had a really, really difficult time with the prosthetics.

We did an episode where she goes out to get a job and she gets fired because she's not good. They hire a babysitter to help out and she finds out she hates the fact that the kids have more fun with the sitter than her.

I still feel driven to try to make great shows and to make each episode great.

You can't TV surf without coming across an Andy of Mayberry episode where you've just got to watch Don as Barney. That's why I put Don in several of my movies.

First of all, it was in my contract. I knew I would be directing an episode.

You know, it's a big version of an episode, which I think is necessary at this point because we're drawing in people who not only people who have seen the show before and are devoted to it, but people who have never seen it before.

When I was 16, I filmed an episode of 'Full House' where my family goes to Disney World. I remember putting on baggy overalls just to hide my stomach. When I watched it, I was pretty disappointed and bummed out looking at myself... I didn't feel good about my own body.

You had to be aware that I saw that photography was a mere episode in the history of the optical projection and when the chemicals ended, meaning the picture was fixed by chemicals, we were in a new era.

Six years ago, I completed the premier episode of Hawaii Five-O, and Jack Lord and I immediately realized that we had a good series, that this was a success such as we'd never hoped for!