Mace Windu: [has Palpatine subdued] I'm going to put an end to this, once and for all! Anakin Skywalker: You can't. He must stand trial. Mace Windu: He has control of the senate and all the courts. He is too dangerous to be left alive! Supreme Chance...
[Obi-Wan Kenobi and Yoda are escaping the Jedi temple as Obi-Wan noticed the hologram center] Obi-Wan: Wait, Master. There is something I must know. Yoda: If into the security recordings you go, only pain will you find. Obi-Wan: I must know the truth...
Tion Medon: Greetings, young Jedi. What brings you to our remote sanctuary? Obi-Wan: Unfortunately, the war. Tion Medon: There is no war here unless you've brought it with you. Obi-Wan: With your kind permission, I should like some fuel and to use yo...
I can’t protect you from the stars, but I can tell you stories that may help at night when they are staring at you.
A fish might more easily live on the apex of a rock than a man accustomed to crime live a life of virtue. (“The Story of Prince Barkiarokh”)
T[he rules of writing] require that the episodes in a tale shall be necessary parts of the tale, and shall help to develop it.
Life is a drama full of tragedy and comedy. You should learn to enjoy the comic episodes a little more.
I think one of the coolest things about the job is the level of trust we have for each other. The actors fully trust that the writers will write amazing episodes, and the writers trust that the actors will follow their instincts with the characters.
The future reshapes the memory of the past in the way it recalibrates significance: some episodes are advanced, others lose purchase.
How do people know they are sane? Can a person be gripped by lunacy, only to be released a short time later, never to relive the episode again?
Memory and Habit are attributes of the Time cancer. They control the most simple Proustian episode, and an understanding of their mechanism must precede any particular analysis of their application.
I can't say that the ending of a story is always the best part of the story, and yet there's sort of this implicit idea that the finale is somehow supposed to be the mind-blowing best episode of a show. The question is: Why is that? Why do people mak...
I think the people who probably have it the best are the people on cable like on 'Entourage', 'the Sopranos', etc. who have 13 episodes per season and breaks to do films and theatre. I think that's the most ideal life.
One thing I'm working on is an episodic web series titled 'One Warm Night.' It's a kinda crazy, quirky series, filled with a lot of misfits, oddballs... ninjas.
I have been in the series for over 3 years - 3 series. There will be a fourth series next year which of course I won't be in because I'm now dead. So in total I appeared in 25 episodes.
There are certain economics involved in making a network TV show that you want to amortize the costs of that, so the more episodes you make, the cheaper they all are individually.
The gods have chosen to entertain me with chronic eyestrain headaches. Very poisonous episodes. So I don't do a lot of reading anymore except on tape.
People love a happy ending. So every episode, I will explain once again that I don't like people. And then Mal will shoot someone. Someone we like. And their puppy.
Memory is quite central for me. Part of it is that I like the actual texture of writing through memory. I like the atmospheres that result if episodes are narrated through the haze of memory.
I can understand why guys wouldn't be into 'Glee.' You know, that's a pretty heavy musical show. That show does, like, six songs in an episode.
You know, episodic TV directing is a very long and arduous job. You have very short schedules, short short shooting days, and you have to get lot of pages done.
