A big question, what’s the most satisfying way to end this thing? But then, having said that, is the satisfying way the right way? Without giving anything away, these are the questions we ask ourselves constantly. We stop ourselves every now and then and say: What are our hopes and dreams here? What do we want to see happen? And then we take a consensus around the room, and very often we’re all on the same page with what we want to see happen. And then we say, is that the right thing to happen? What’s the point of it all? What’s the point we want to make? Do we even have one? Some days I’m not sure we do. But then plenty of days, it’s just enough to tell a gripping story, to have showmanship and drama and moments and shock and awe, as it were. Vince Gilligan
The pitch was literally, and I’m not kidding: ‘Monster House….the house….is a monster.’ And when Rob [Schrab] pitched it, he held his hands up one at a time, like Ed Wood pitching ‘Doctor Acula.’ And the head of Imagemovers stared at him, blinked, and said, “I get it. I like it.” And bought it in the room. Dan Harmon
In every episode, the idea is to reveal new things about the characters, and if we don’t do that consistently throughout the season, then I think we’re blowing it. I don’t like shows where you feel like you know exactly who the people are and exactly how they’re going to behave in every situation. Then it just becomes color-by-numbers where it’s like, “Now these characters are at the circus. Now they’re in a coffee shop.” And you watch their complete, set-in-stone characters unfold in exactly the way you expect them to. That kind of television doesn’t really interest me as a writer. Mike Schur, inadvertently explaining why Parks and Recreation will never go the way of The Office
Tommy has decided that he prefers to be buried so “people can do sex on my grave Greg Sestero (“Mark” in The Room). His book on Tommy Wiseau, entitled The Disaster Artist is apparently finished and will be released in January 2013.
Then the shooting has proven my suspicions: he simply does not. Changed at least three times a cameraman, multiple team replaced the stage, and there were people who left there to film themselves in the middle of the day. […] And the rotation of the end of my Wiseau thanked, praised, and he said, because I worked so well, free loan of the total sound equipment provided, if the next movie I’m doing well. Zsolt Magyar, sound engineer for The Room, on Tommy Wiseau. [Apologies for the terrible Google translation.]
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