"I don't feel the obligation to have a big explosion in the first 20 seconds so the audience doesn't turn on another channel. We are trying to make something that looks like a feature film that was bought for television and I think we are succeeding"
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Selleck is quietly calling out the attention economy without sounding like a scold. The line lands because it’s framed as a refusal of panic: he won’t stuff “a big explosion in the first 20 seconds” just to keep viewers from channel-surfing. That’s not only a creative preference; it’s a stance against a whole set of incentives that treat the audience like a twitchy focus group and television like a slot machine. He’s defending patience as a form of craft.
The subtext is also industrial. Selleck is describing a moment when TV is still carrying a chip on its shoulder, chasing the legitimacy of cinema. “A feature film that was bought for television” is a clever bit of status jujitsu: he’s not saying “TV can be art” in the abstract, he’s saying, we’re making something that already looks expensive, cohesive, and cinematic enough to pass as a theatrical product. It’s aspiration, but also a marketing pitch aimed at skeptics who hear “television movie” and expect cheap lighting, rushed scripts, and obvious commercial breaks.
There’s a sly confidence in “and I think we are succeeding,” too. He’s staking a claim that quality can hold attention better than spectacle. In a medium built around interruptions and impatience, Selleck is arguing that the real hook isn’t noise; it’s control.
The subtext is also industrial. Selleck is describing a moment when TV is still carrying a chip on its shoulder, chasing the legitimacy of cinema. “A feature film that was bought for television” is a clever bit of status jujitsu: he’s not saying “TV can be art” in the abstract, he’s saying, we’re making something that already looks expensive, cohesive, and cinematic enough to pass as a theatrical product. It’s aspiration, but also a marketing pitch aimed at skeptics who hear “television movie” and expect cheap lighting, rushed scripts, and obvious commercial breaks.
There’s a sly confidence in “and I think we are succeeding,” too. He’s staking a claim that quality can hold attention better than spectacle. In a medium built around interruptions and impatience, Selleck is arguing that the real hook isn’t noise; it’s control.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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