Films do seem prestigious and glamorous, but when you create something, you want people to see it. TV still reaches so many more people; it still really appeals to me.
A picador is the guy in a bullfight who helps make sure the matador doesn't get killed by distracting the bull. That's what TV writing is. You're just distracting the bull long enough to stick around for the next set of commercials.
Not having the online game has made it more difficult. There are a lot of young and upcoming players in poker. But you don't get to see them because TV has sort of been taken away.
As a kid I watched television 24 hours a day and loved every minute of it. The two shows that always make me laugh and are therefore my favourites are The Dick Van Dyke Show and Fawlty Towers.
I have a Tony Award now. It hasn't changed too much in the theater world, but it gives me entree for film stuff and TV stuff, where people will see me more easily now because they know me.
When you're doing a play that's fully produced, you have the benefit of rehearsing for four or five weeks, so you really get to live in the skin of the character for much longer than when you first start doing a character on TV.
My first press tour for 'Vikings' was pretty overwhelming. Between all the hotels, TV shows and talking a lot, I would get done and have to sit in silence for a while. It was exhausting, and you really have to focus.
I remember when Martin Luther King was assassinated. I was up early watching television and watched the announcement. I didn't understand what the word 'assassinated' meant.
The world starts to exist, for Americans, when we are in conflict with a place. And then all of a sudden, Afghanistan pops up on the TV screen and it becomes a place. And it exists for three weeks, and then it disappears into thin air.
It's a wonderful thing to see a segment of our population that is open and eager to learn more about Chinese culture. It has filtered into the mainstream. You see credit-card ads on TV with white couples and Chinese babies.
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.
