Traditional broadcast media seems old-fashioned and vague to me. When I watch television news, I'm aware of what skilled journalists they are, but I find it hard because of the corny way they present it.
I'm transitioning to television and film, but ultimately, I want to have a stronger presence on the web and be able to curate the content that I want to see. To bring attention to other filmmakers and writers.
There's also something of an illusion in that, you can perhaps record a TV thing one month and complete a book the next and then be in a play. Then, if they all come out at once, it looks as if you're actually juggling a million things.
A lot of cable television is shot on a single camera. Our eyes are more trained to that. It takes the camera off the crane, away from observing the action, to becoming a character in the story along with everyone else. People are getting used to that...
When the stock market crashed, Franklin Roosevelt got on the television and didn't just talk about the princes of greed. He said, 'Look, here's what happened.'
Wayfarer is built on the idea that we can actually make a huge difference by creating entertainment and television and digital and branded content with a message. It doesn't always have to be really, really inspiring or really earnest. We call it cho...
The problem is that television executives have got it into their heads that if one presenter on a show is a blonde-haired, blue-eyed heterosexual boy, the other must be a black Muslim lesbian.
Playing in front of 25,000 people and millions more on television, and performing and doing what I worked so hard to try to accomplish was, in my opinion, the ultimate. Do I miss it? Of course I do.
There was an ITV television production of the second novel I wrote, called 'Murder of Quality.' It was a little murder story set in a public school - I'd once taught at Eton, and I used that stuff.
You have to learn to express differently. Whenever I do TV or film, I ask if I can see the shot to see, to see if it's full body or a close-up. That helps me understand how to communicate.
Since it was too difficult to get into the Screen Actor's Guild in New York, I moved to Miami in 1982 and started a successful career as a television commercial actress, obtaining my SAG card there.
In our day we went from - we went into saloons. We couldn't cross over like you can today, get a television series and all of a sudden you're a major movie star, you know.
When you do a play, or even a movie, you have weeks to finesse your character. You really understand why they do what they do. In TV, you get new material weekly about your character.
Television is so influential that when an audience sees you day-in and day-out there's a certain acceptance that sets in; you're no longer a threatening personality. They become more willing to accept whatever you present.
When I talk about the Internet, it's because young people are there. TV and radio are still what moves the masses, and you can't ignore that. But you also have to feed that monster that grows daily, which is the Internet.
I think three or four years ago, people would have said my biggest weakness was that sometimes I was awkward on television, with my stammer, but I think they'd say that much less now.
It's about avoiding reality through various escape routes that become addictions and lead to Hell. My character is addicted to television, chocolate, coffee, to her dream of her son, which has no basis in reality.
Whatever I do, it's crucial to me that I give it 100 per cent. It doesn't matter if it's a short film, stage, theatre, TV or blockbuster. It doesn't matter what level of budget or prestige it is.
Television is a lot of fun. It's faster-paced. The schedule is really desirable, I guess. But as far as films go, and I've only done a couple; film is like a definitive beginning, middle and end. You know your character's arch.
I go to see grand prix every year, and I watch every race on TV for sure. I probably go to three or four CART races and three or four Formula One races.
The bosses of our mass media, press, radio, film and television, succeed in their aim of taking our minds off disaster. Thus, the distraction they offer demands the antidote of maximum concentration on disaster.
