Television's grown up a lot. It's a little more adult, which I think is a good thing. It allows actors to tell more complex stories. I'm happy to see where it ends up.
I've had the good fortune to have a much more diverse life than most people would, professional sports and television and news and movies.
I actually think there's a potential, a crazy potential, that network TV could become something valuable and worthwhile, just because of fear on the part of the networks.
I watch a lot of television, for better or worse, and I am particularly interested in what Michael Moore brought up in 'Bowling for Columbine,' which is the idea that they're selling a narrative of fear.
Our top story tonight: Famous TV dolphin flipper was arrested today on prostitution ring charges. He allegedly was seen transporting two 16 year olds across state line for immoral porpoises.
Everyone always asks me, 'Do you want to be famous... ' I never really thought about becoming famous. I just want to work, to be able to put out inspiring and good film and TV.
I turned down many chances to be on TV before 'Pop Idol' because I really wasn't interested in being famous. I didn't need it and didn't want it.
I admire the Shabbat tradition, and no matter which faith you are of, there is nothing more wonderful than dedicating a certain day to spend time with your family and loved ones, absent of TV, phone, and other interruptions.
Think of it: television producers joining with newspapers to tell stories. It's journalism of the future. Advertising will follow the crowd - the 'crowd' being viewers and readers, of course, which could bring revenue back into journalism.
I mean, the nation in which we live - and the world in which we live - is so extraordinarily more like a future than the futures that we're being sold on the screen and on television.
It's funny, like 15 years ago when I was a kid doing all the John Hughes movies, I remember Bruce Willis was the only guy who was transitioning from television into film.
It's funny - I was a big fan of 'The Sopranos.' It became kind of a threat to 'The X-Files' in a way because they could play with language, character, and story in ways that we never could because of the limitations of network television.
I had spent many years before I was 31 hearing people tell me, Oh Man, you're so funny, you need to be in television. But that and a quarter won't get you on a bus.
The nightmare is you spend the rest of your life being funny at parties and then people say, 'Why didn't you do that when you were on television?'
I haven't been offered a lot of comedy. In theater, I've done quite a bit of comedy or dramas that included a lot of funny stuff. But in my TV work, those aren't the roles that I've been offered.
It's a funny thing, 'The Office,' because millions and millions and millions and millions of people didn't watch it. But culturally, it is more of a phenomenon than almost anything else I can remember as far as British television is concerned.
I've just seen really, really funny guys, and if I didn't know them, I wouldn't know they were funny from the television. I don't know what it does, it just sucks it away.
When I was doing all this acting stuff, all these kids, like, assumed, 'Oh, my God, you're on TV, and you probably have a lot of money.' And I was living in a garage.
To me, Joss Whedon is a god. I'm just a huge fan of his work; I love his work on TV.
Thank God we're living in a country where the sky's the limit, the stores are open late and you can shop in bed thanks to television.
One of the things I really love about TV is this symbiotic relationship you can get between the writers and the actors, and the characters start to come to life because you start to collaborate.
