I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
I keep getting these people at my shows who only know me from television. I can always tell when they're, like, emotionally flinching when I start doing my jokes.
When I was a kid, we all knew who Niki Lauda was. He was a hero, a living legend in Germany. Everybody knows him. And he's still very present on TV because he's commenting for Formula One.
Television sounded really different than the Ramones sounded really different than us sounded really different than Blondie sounded really different than the Sex Pistols.
After years of begging, I got my parents to get me a little Craig tape recorder, a reel to reel. Then I started recording voices, or recording Jonathan Winters off television and stuff like that.
I think you can be terribly overexposed. I've been always very careful in my career to do theatre; it takes you out of the television eye, and people are glad to see you back again.
My first trip abroad was to do a TV version of 'Les Miserables' in France with Anthony Perkins. There I was at 12 acting with the guy from 'Psycho.' My parents were teachers, and it was hard for them to relate to that world.
When you're on, like, NBC, or - I don't want to call out any names. But when you're on bigger networks, they just want to find something that sticks and aren't really necessarily trying to develop anything. On TV Land, they've developed 'The Exes.'
The fact is that daytime television is less valued than nighttime, and it's partly because of the product that we produce. We do a one-hour show in 12 hours. Nighttime produces a one-hour show in seven to nine days.
I went to a theater arts school, so I'm interested in many different projects, whether it be film, television or even live theater. I'm a performer. That's what I do. That's what I want to do.
Writing a TV show is totally different than writing features, or just, what I started doing is writing features. You write a little bit more organically. You start from the beginning to the end, beginning, middle and end.
No one knows if Saddam is still alive. They keep showing old footage of him on TV saying that it's live. You know, it's like the same thing we do with Dick Cheney.
I know you shouldn't spit in your own soup but I think most crime writing is like TV and doesn't make enormous demands on one's intellect.
Exponential growth in access to the Internet, satellite television and radio, cell phones, and P.D.A.'s means that breaking news now reaches virtually every corner of the globe.
You could write your fingers off for 25 years... and never get the kind of hearing you could get from shooting off your mouth on television for a half hour every week.
TV, it's a director's medium, and they wanna make it look interesting. To be rehearsing mostly for the sake of where you're standing so they can do the lighting, that's what I don't like.
I use a pseudonym, because my real name is very difficult to pronounce, to remember, and to spell. And many people who have been talking about me on television have yet to pronounce it correctly.
I remember when I was in my late teens just getting rid of lots of records, realizing I only ever listened to them when I was reading, or watching TV, or doing something else.
We originally developed 'The Client List' along with Lifetime as a TV movie - my manager and I became partners on the project. Then, we brought in Howard Braunstein on the project and produced it along with Lifetime.
When I'm watching television or a movie, I like to see stories that are extraordinary. I don't need it be something that is, 'Well this makes more sense to me because I can see this happening to me, or this happened to me.'
I can't stand girls who laugh at everything I say like I'm the funniest guy in the world. I like girls who tell it like it is, no kissing up to me because I'm on TV.
