"Often times people complain about the lack of time in television, but I have to say, you don't have any more time to film in feature films then you do in television. It's just a question of how many scenes you'll be doing in the course of a day"
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Braugher’s point lands like a small act of demystification: the supposed luxury of film is, on set, mostly a mirage. People talk about television as the sweatshop and features as the atelier, but he’s reminding you that both mediums run on the same hard currency: daylight, crew hours, and the relentless math of a call sheet. The difference isn’t “time,” it’s allocation. A feature might spend its day perfecting fewer beats; TV usually has to capture more story per hour, which changes everything about performance, pacing, and risk.
The subtext is a defense of television craft, and it’s slyly political. For decades, TV actors were treated as if they were doing the lesser form - faster, cheaper, disposable. Braugher flips that hierarchy by making the constraint visible. If the clock is the same, then what separates good work from mediocre work isn’t the format’s prestige; it’s the intelligence of planning and the discipline of execution. That’s a compliment to crews and directors, but also a warning: if you’re phoning it in, you can’t blame “TV schedules.”
Context matters: Braugher built a career on shows that depend on precision and rhythm (Homicide, Brooklyn Nine-Nine), where acting isn’t just emotion but timing, listening, and hitting marks without losing spontaneity. His insight reframes “not enough time” as an artistic choice dressed up as an excuse. The medium doesn’t give you grace. You take it by deciding what truly needs the camera’s attention.
The subtext is a defense of television craft, and it’s slyly political. For decades, TV actors were treated as if they were doing the lesser form - faster, cheaper, disposable. Braugher flips that hierarchy by making the constraint visible. If the clock is the same, then what separates good work from mediocre work isn’t the format’s prestige; it’s the intelligence of planning and the discipline of execution. That’s a compliment to crews and directors, but also a warning: if you’re phoning it in, you can’t blame “TV schedules.”
Context matters: Braugher built a career on shows that depend on precision and rhythm (Homicide, Brooklyn Nine-Nine), where acting isn’t just emotion but timing, listening, and hitting marks without losing spontaneity. His insight reframes “not enough time” as an artistic choice dressed up as an excuse. The medium doesn’t give you grace. You take it by deciding what truly needs the camera’s attention.
Quote Details
| Topic | Work |
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