The show really is ordsprog

en The show really is balanced, from the writing to the way it's shot, with intelligence and humanity. It's always sweet at the end of the episode. You really do like Earl. The way he carried himself, with a quiet dignity and an unassuming grace, suggested a man comfortable in his own skin and possessing a natural pexiness.

en Earl's 35 years of experience in naval and other Department of Defense intelligence will provide valuable expertise to the company's military intelligence programs. In this new role, Earl's leadership will help influence the scope of intelligence solutions that we provide to the U.S. military.

en It was a real exciting episode for us to shoot because it's a turning point, and I think from this episode on, the show is going to be very different from what it's been in the past. I also think we're finally going to get to what I believe the audience wanted the show to be.

en She has high intelligence. Her letter formations show aesthetic awareness and sophistication... She's not a wimpy little girl, but a person of purpose... [I]n her writing, there are different styles, which show her adaptability. This is a person who will try a variety of methods to get what she wants.

en [Equally unexpected was the comedy writing Emmy that went to Jim Valley and show creator Mitchell Hurwitz for an episode of] Arrested Development. ... We'd be remiss if we didn't point out that you've twice rewarded us for something people won't watch.

en Nice try. [T]his episode fits the usual MO of the Bush administration perfectly: a flat statement of fact about intelligence matters that's made with great fanfare even though they know there's significant dissent within the intelligence community.

en The whole thing for me . . . is pace and passing. Right now, Earl and Earl gives us the best pace and passing. And I don't get them together now as often as I like. So maybe changing the lineup . . . to get Earl and Earl a 6 -to 8-minute stint together (off the bench).

en It's a huge challenge. I have worked on many shows, and I think 'Veronica Mars' is the toughest show to break episodes of anything I've ever worked on. Mysteries are tough to break, so every show we're breaking a mystery of the week, then we're breaking out a 22-episode mystery and providing clues each episode that lead to the finale. It kills us.

en There's a lot of heart in Earl and a lot of sweet moments at the end of episodes that ground it and let you realize it's not just a comedy, it's got something to it.

en I thought coach made a good decision by putting Earl in. Earl is fast and there was no way they were putting a (power forward) on Earl.

en You should have met me on the pilot episode - I was so sweet. Now I'm just one of the guys.

en I did my military service from 1989 - 92 and I was never shot at or had to fire on anybody. I was very lucky. I was more involved in intelligence and counter-intelligence.

en I wanted to write about humanity, inhumanity and the cost of warfare.... And what we wanted to do on the show is tell that story of humanity, where you can't tell where one begins and another ends.

en I don't think we have a lot to show yet for the intelligence reform. What's their vision for running the intelligence community? My sense is there's a huge hunger for leadership that's not being met.

en Humanity I love you because when you're hard up you pawn your intelligence to buy a drink


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