Sara Goldfarb: And you should see my Harry on Television. We're giving the prizes away. I JUST WANTED TO BE ON THE SHOW.
Jon Osterman: What is this? Another ultimate weapon? Adrian Veidt: Yes. You could say that. [Veidt turns on TVs with remote]
Money's never an issue. I can go and work for a small studio theatre somewhere if it's a play I really care about, or do TV or a big commercial West End show.
I had the traditional print view of TV journalists: Those are pretty people who get paid a lot of money and don't do any work. It turned out I was wrong.
Social media is an information channel; it's like radio or TV... In Cisco, we made a lot of money on public protocol. I think the social media model replicates that protocol.
Yes, we're trying some new stuff. Some of it might work. Some of it might not. This, of course, is the nature of episodic television. They can't all be gems.
We still have a tradition certainly in English television; it's faded a bit in the last five years, but we still have a tradition where the important thing is the quality and the challenging nature of the programming.
A television chat show is light entertainment, so it is trivial by its very nature. It is hardly the place to get people to reveal their innermost thoughts. Then it becomes sensationalism, and you lower yourself to the level of the popular newspapers...
You turn on the TV, and you see very bland interviews. Journalists in the United States are very cozy with power, very close to those in power.
I'm not seeing tough questions asked on American television. I'm not seeing those correspondents that would question those in power. It's like a club. We are not asking the tough questions.
I've spent over 25 years in the television industry, the direct response industry. I met a lot of people and certainly learned the power of commercials and their brand building potential.
I met Bill Clinton in 1977 while I was working as a news reporter for KARK-TV in Little Rock, Arkansas. Shortly after we met, we began a sexual relationship that lasted for twelve years.
Babylon 5 is probably the biggest, most ambitious television science fiction series ever made. It's one big novel told over five years with 110 different stories told within it.
At the moment I'm enjoying a new challenge at the Royal Opera House, but I'm also keen to pursue my interest in television and particularly in science.
For a long time, censors have been cutting my works. This makes me so sad, because many times they will tell me, 'Television won't like, so we have to cut, cut, cut!'
A lot of people don't realize that I started my career in sports and was a sports reporter long before I was on television. I used to be an NBA reporter and an NHL reporter.
The last few years I became a lot more into sports. Growing up, the sports I liked were independent sports, like skateboarding. I was really into skateboarding, and not necessarily team televised sports.
If this TV success had come in my twenties and I'd become a heart-throb, I would have been very stupid. I would have got into a lot of situations that I really wished I hadn't.
There was no studio involved when we made 'Stargate.' It was financed through Le Studio Canal+ in France and, after the film was finished, it was sold to MGM. When the film was a success, MGM decided to do a television series based on the movie.
I've been been on the cover of TV Guide, on every single talk and entertainment show except Letterman. It's interesting being older and dealing with this kind of success. I'm more appreciative of it now, and I don't take it for granted.
There are moments when television systems are young and haven't formed properly, and there's room for lots of original stuff. Then things become more and more top-heavy with executives who are trying to guarantee the success of things.
