Something that I learned from 'Friday Night Lights,' sometimes if you have four or five scenes in an episode, it's not having less than having 10. It's what you do with those scenes.
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When I was on 'The Golden Girls,' we'd have eight scenes per show. And when 'Seinfeld' came along, they went to, like, 30 scenes a show, which was revolutionary. 'Arrested Development' has probably got 60 scenes per show. It just keeps emerging as this more and more complex thing. I always try to keep it very simple at its heart.
Ten episodes goes by really quickly, especially when you've got a really tough shooting schedule of seven-day episodes.
In 10 different takes, you can do a scene 10 different ways.
I find that most of my scripts have a lot more scenes than most films, so the average movie might have 100 scenes, my average script has 300 scenes.
Being in the industry, I've seen many situations where someone will get the call from the network where they say 'You guys have 5 episodes to wrap it up.' Then all your long-term story arcs gotta get wrapped up in five episodes because that's how many episodes you got left. I would hate to see that happen to 'Castle'.
There's something really satisfying if you've created a bunch of characters that have withstood 25 episodes.
In a film you only get two hours to do this big arc and so you have to pick and choose your moments carefully, but with television you get to take your time and just take it episode by episode and discover new things.
'A Storm of Swords' is a massive volume, and it seemed like it would be shortchanging it to try to cram it into ten episodes.
I'm good at description and imparting flow to a story, but I don't necessarily understand the value of long scenes.
I write scenes - often quite long scenes - mainly because I still get seduced into writing six lines where one and a half will do.
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