American - Producer | May 26, 1972 -
It was a high-class problem burden, but it was still a burden on 'The Vampire Diaries,' in which we had this group of characters that we loved writing for so much and who had so much available story to tell.
Julie Plec
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I remember just weeping my way through the 'Friday Night Lights' finale with my best friend and just being so happy all the way through because it was so beautiful.
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I watched a lot of soap operas, when I was growing up, and a lot of those great serialized soap dramas.
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The one thing that always drove me crazy, especially on soaps, was when someone would have something they were hiding, and then six months later, they were still holding onto that secret, and the world has come to a complete, total end as a result of it. If they'd only just confessed!
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I'm a night owl; I could work until 6 in the morning without even thinking about it.
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The joke of being a showrunner is that people ask how you get it all done, and you don't. The list of things I don't get done in a given day is longer than the list of things I do. And one of the things that's first to go is watching dailies.
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The people I worked for before I was doing 'Vampire Diaries' were very generous to me.
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The funny thing about the entertainment business is that we all feel like kids playing in a candy store, but we are entrusted with millions and millions and millions of dollars and an entire industry that can thrive or die on whether or not we do our jobs well or not.
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What's funny is, I was always certain that I couldn't be a director because there are things about the physics of camera and lighting that I fundamentally cannot wrap my head around.
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When you're the showrunner, you're the person that's in control of most of the details, and to be able to take all that and then to step right behind the camera and to have a direct line of communication with the crew and with the actors - to not be delivering that through another person - is pretty freeing and extremely stimulating.
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We all have our own party fantasy that we've either lived or wanted to live in New Orleans.
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There's something about a supernatural universe that you would think would actually make it easier to create tension and build conflict and have big scares and big ideas and big sequences. And that's true in a lot of ways. You can pick the best idea out of a hat.
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