Ed Sullivan brought me to TV first in 1952, then Garry Moore's program gave me a lot of confidence and freedom.
If you operate a TV or radio station, you have to have a license. It has nothing to do with fundamental freedom. It has to do with protection of the average citizen against abuses.
When I was a kid, our family used to watch 'Bonanza.' I really liked having a Sunday night TV ritual.
He's a TV producer, a theatrical impresario, and he wants to be treated as Mr. Windsor but when the going gets rough he wants to be treated like a member of the Royal Family.
In my family, in the days prior to television, we liked to while away the evenings by making ourselves miserable, solely based on our ability to speak the language viciously.
I always find that really interesting, you know, when I get to see characters that I love in TV and film and theater around their family.
TV has gone back to basics, relating to middle class family with real characters, less make-up and simple shots. I feel as an actor it is a delight to work in such shows.
For me I'm a luxury brand trying to prove to people and the industry that it's not about being a TV celebrity in any which way, it's about being a designer and having a business and being successful at that.
Nashville was totally different than I ever dreamed. I had only seen the music business on television and been to a couple of concerts. I had no clue.
I think I thought it would be important for electronics as we knew it then, but that was a much simpler business and electronics was mostly radio and television and the first computers.
Movie studios aren't making too many dramas anymore; they're in the superhero business. Material for television is much, much stronger for actors now.
A nonfiction author has to bring a platform with him - radio, a TV show or some kind of recognizable vehicle to help launch them. And the agent is really necessary to represent all of the business interests of the author.
I've been in television for a little bit, and when people are attracted to what you've created, you get very excited because of the numbers. The business side is very exciting.
TV journalism is a much more collaborative, horizontal business than print reporting. It has to be, because of the logistics. Anchors are wholly dependent on producers to do all the hustling.
Being in TV, we get to do it again and again until it's 'right.' There's a part of me that likes the other way, that aspect of theatre where there's no chance to go back.
I've done a couple of series before, and what I like about TV is, as an actor, you get that chance to practice all the time, and that's really how you grow.
Without television and mass communication, that knowledge wouldn't exist. So I think it actually has the possibility of turning people into more understanding and more empathetic people.
I believe that 99 percent of successful TV shows change an immense amount from the pilot to the tenth or twelfth episode.
With any child entering adolescence, one hunts for signs of health, is desperate for the smallest indication that the child's problems will never be important enough for a television movie.
My husband is in charge of all phone, email and texting duties at home. He even has to turn on the TV and air conditioning because I'm so hopeless with technology.
Why should people go out and pay money to see bad films when they can stay at home and see bad television for nothing?
