I really have no preference between TV and film. I think that each individual project is its own thing and has a very different style.
I had no plans once I finished my football career, which was a problem, so I had to go looking for work. Television was the one area that it was easier to get a job than anywhere else.
I think in my job, it's quite difficult to find work on television... you don't necessarily want to get a profile for something that you don't fully believe in.
Whether you're on TV or on the stage, you have to work hard to stay fresh, real, and full of energy. You can't settle back. You always have to stay on your toes.
This programme would only really make sense and work properly if it was also broadcast on France's international television channel TV5. So I ended up with a double production, on France 2 and TV5.
I think that in order for anything to work on television, you have to have conflict. Nothing can be too happy or it's boring. People don't want to watch that - they want to watch things that are exciting and dangerous and sexy and have tension.
The Australian film industry is a small industry, so you have to really be flexible within working in different mediums. A lot of actors work in theater, film, and television, because there's not much opportunity in terms of employment there.
There are no real guidelines or maps in Australia as to how to write a show, whereas in Hollywood it's where the TV industry is created and there's a lot of work that goes into development.
There is so much cross-pollination between the U.S. and Britain in terms of comedians. British TV comedies work well in the U.S. American stand-ups make it big in Britain.
I started in theater. I would liken sitcom work more to theater work than I would, perhaps, to dramatic television. It's so quick. It kind of feels like the pace of a play.
I started out as Keith Mitchell. I had done probably about ten years of television work under that name. Then my grandfather passed away in 1984. I wanted to honor him and his name.
If I didn't work in television or film, if I didn't have the right look, I never took it personally. Because there was always the theatre. I'm not a nihilist, I'm an optimist. And that has served me well in this profession.
For me, my 20s were all about reaching for the brass ring of work in theater, television, and film, surviving in between by waiting tables, painting houses, serving coffee, and temping.
It used to be that if you were on a sitcom you couldn't get work in film because it was so different. Now it's almost like you have to be on TV to do other film work.
I like how steady the work in television is. Films, they're hard to come by. They're elusive. I've done a couple, independently financed. You do them, and maybe a few people will see them.
Because I work in television, I always knew that I loved working with writers. It's very collaborative. You're always in a room full of writers.
I don't want to tie myself into one area or the other. I think its important not to rely heavily on either TV or stand-up, but to let them work off of each other.
I've had lots of things that didn't work out, like TV shows. You learn a lot through mistakes - I learned that you have to be the captain of your ship. Actually, I own my ship.
You do show after show after show and get them done and on the air. Television devours material. We work a minimum of 12, 14 hours, and often 15, 18 hours a day.
I'm not a fan of reality shows, but I am a fan of people who use their brains and skills and hard work to outsmart people, not to steal someone's man or get drunk on TV.
My goal as an actor was to work - to be a working actor, whether it was in theater, and, well, I didn't even consider film and television when I was in New York, but what came along, came along.
