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It's the big question of every TV show, right, where you have these two people who it's clear the world wants to put them together and everyone wants to see them together, but also when you're telling these stories you can't throw these people together immediately.
Theater is consistent. You ride your bike to work. You get most of the day off so you can see your kids. My problem is that after three months, I go mad. One of the reasons I never thought I could do a TV show is that I hate doing the same thing over and over again.
When I got to high school, they had a morning TV show you could become a part of, and I started making short films for that, most little satirical, laugh-y films about the dean of students being chased by a dinosaur or something like that. And I really just enjoyed it.
In Britain, you do your job. When you do an American TV show, there is a sense of being one with the crew, and there is a leadership element, which was a learning curve for me because it is very different culturally. In Britain, you just do it, leave and say, 'Thanks.'
'Turtles' was by far my favourite TV show when I was growing up. It would be the show that I would wanna watch more than anything. We'd record it on the big VHS tapes, and I'd watch it before school, after school, on the weekend, wear the costume, have all the weapons.
I'm not the first to admit that raising a child in Park Slope, Brooklyn, can bear an embarrassing resemblance to the TV show 'Portlandia.' My wife and I try to have some ironic distance from the culture of organic, chemical-free parenting, but we're often participants.
It's something you dream about, working in Scotland, working in Glasgow, walking down the same streets I used to walk down when I was a drama student, daydreaming about being in an American TV show or doing something that was well known. I guess I sort of pinch myself.
With 'Guardians,' I knew way from the start what the plan was on this one. The harder thing for some actors is when you are doing a TV show like 'The Walking Dead' because you find out you're character is going to die a week before or even just a couple of days before.
I'm a writer; I've worked as much as a writer as I have as an actor, so I was in a script-note session at Imagine for a TV show I wrote that they were producing, and they happened to say, 'You'd be great as Crosby, do you want to do this show we're doing, 'Parenthood?'
When you are part of a massive TV show like Strictly,' it's not just about the professional dancers and celebrities taking part, there could be young or old people out there who are watching and they might also be inspired to take up dancing, and I find that so special.
One of the tricky things about running a TV show is that you just never know how good the guest stars you cast on a weekly basis, how good they're going to be in the episode. Sometimes they surprise you in good ways and sometimes they surprise you in disappointing ways.
I owe my whole acting career to the fact that I'm a singer. I went out to Los Angeles and auditioned for a TV show called 'Fame L.A.' The original role was for a comedian, but they said I wasn't very funny, so they asked me, 'What else can you do?' So I played a singer.
In a traditional TV show or movie, your hero is always where the action is. But in real life, at the end of the movie 'Fargo,' when Bill Macy is arrested, Marge is nowhere to be found because it's a different jurisdiction, and she wouldn't be there. I took that to heart.
I grew up a big fan of the J. R. Ewing character of the 'Dallas' TV show, and I grew up around people who were very similar to J. R.: they had come into a ton of money. And they loved to flaunt it and loved to drive fancy cars and wear the big cowboy hats and nice suits.
I love the TV show, and if you make a bad movie it means you've soiled it. Just like if we made an advert. We were offered so many times and I'd say, look, this is the good thing, and you can't compromise that, because then you compromise the integrity of the characters.
I think you just have to take everything that happens on a TV show with a grain of salt. You sign up for a show for six years having zero idea where they're going to go with the character, so you just have to get on the ride of the show and go with wherever they take you.
It's nice to be able to work; I'd love to be able to do another TV show I could do in Chicago so I could live and work in the same place. It's hard being a parent and being in a good marriage, and it all takes a lot of work, but if you're not there you can't do any of it.
I did my first series lead back in 1991 on a show called 'Reasonable Doubts' and have done many shows with other actors who are deaf. But 'Switched at Birth' is the first TV show where there is more than one actor who is deaf or hard of hearing and who are series regulars.
Artists should be free to create what we want. I believe there's a special value in work that is a reflection of oneself as opposed to interpretation. When I see a film or a TV show about black people not written by someone who's black, it's an interpretation of that life.
I was a complete unknown when I did 'Karate Kid.' I'd just done a pilot for a TV show called 'Call to Glory.' And I sat down with John Avildsen and brought still pictures from the show. I brought pictures! At that point, I would've been happy to be in a dog-food commercial.
When you're doing a film, you're on a set and you have retakes and you have time to get it right. And on 'SNL' it's just go, go, go. If you can't read the cue cards or miss your mark, you're just left to sort of screw up. So there's a lot more pressure doing a live TV show.
I was involved in an organization called the White House Project, and the woman who ran it introduced me to Bloomberg. I told them, 'You can pay me zero dollars, but I need you to give me a TV show to anchor, and I need you to hire someone to teach me where the cameras are.'
When you're a guest star on a movie or a TV show, I always say it's like being invited to a family reunion, but it's not your family. So you don't belong - they're being nice to you, but you don't fit in completely; you don't know everybody's story. You don't have a history.
I have, for a few years, been writing comedy prose - short pieces for my blog - because I found it to be a good way to write while I was on a TV show. It was different enough from my scripts that it felt like a break, but it still was comedy and very fun. I like to do comedy!
This whole thing about reality television to me is really indicative of America saying we're not satisfied just watching television, we want to star in our own TV shows. We want you to discover us and put us in your own TV show, and we want television to be about us, finally.
Obviously, I love Japanese food. My favorite TV show of all time, without exception, is 'Iron Chef.' Not the stupid American version; 'Iron Chef' Japanese; the real one, the one that was on in Japan... my DVR for years was set to record almost every single 'Iron Chef' episode.
I worked with Marlon Wayans on the show 'They Wayans Brothers,' and we hit it off. One thing about Marlon, when he casts a movie or a TV show, he expects you to bring it. You've got to be ready to improv, because Marlon will say anything, and you've got to be ready to come back.
With my own videos, I definitely have more control over what I want to put out there and what I want to say. With the TV show, I'm not the editor. There's always things that I wanted to put in there. My dad has the final say in everything on YouTube, but I can be more expressive.
I wrote 'She's a Lady' on the back of a TWA menu, flying back from London after doing Tom Jones's TV show. Jones's manager wanted me to write him a song. If I have an idea and I don't have a pad of paper, I'll write on whatever is available. What's the difference? Paper is paper.
I think a lot of social media creators have always been, like, content and haven't pushed the limits because no one else had pushed the limits before. I say to myself, 'How can I create my own TV show online every day and actually make it a real production and put effort into it?'
My parents have let me do whatever I am interested in. Initially, they were apprehensive, but when they realised that filmmaking was my passion and that I was doing a good job with the short films and the recognition in 'Naalaya Iyakkunar' TV show, they supported and encouraged me.
Previous candidates who get elected are almost always sobered by the office and the responsibility they take on. Donald Trump shows no evidence of that. He's the same Trump that he was when he was host of his reality TV show. He's the same Trump that he was when he was a candidate.
When you're doing a TV show, it's not like you just shoot for six weeks and you're in an editing room with all of your footage. It's like a guitar or a car, you have to fine tune things. You stop doing what's not working, you work on what is working and you add things that do work.
The Hollywood actor business can be a little shallow and can be a little more of a facade, and Nashville and the South, people are genuine and real, so if I can be based out there and go off to Hollywood to do a film or do another TV show and then fly back to Nashville, I'd be set.
College is something I've always said I wanted to do, but you're going there to get a piece of paper that says you can get a job, but if I'm already working steadily and doing good work, it makes you question your priorities. Right now, I'm in my own film college: filming a TV show.
I was an arrogant man. I not only thought I could manage my life without help, I wanted it that way. I had best-selling books and a TV show and movie contracts; I felt invincible, secure in the thought that everything was my doing. And then, like all arrogant men, I came to stumble.
The way I see it is, you can be a character on a TV show for years, then the TV show gets cancelled and your favorite actress or favorite comedian, you don't see them for a little while and then you see them back doing something else. You can still be enjoying them performing on TV.
There's been a great development with scale on TV, but my approach is always the same across projects, whether it's a video game, a movie, or a TV show: I always try to set up my sounds and my themes. I really try to stay with the characters and do the storytelling through the music.
I majored in extracurriculars, honestly. I joined the Harvard Stand Up Comedy Society, which is a ragtag band of misfits. I wrote for 'On Harvard Time,' which was a student TV show trying to be 'The Daily Show.' And I wrote a humor column for 'The Crimson' starting my sophomore year.
In theater, you can be free. That's how Lin-Manuel Miranda got to do the most revolutionary piece of theater with 'Hamilton': color-blind casting in roles in which they would never cast Latinos if it were a film or TV show. It just goes to show that Hollywood and cable are way behind.
I basically look like a lot of modern Orthodox people you know, but I work on a TV show where I sometimes have to kiss Jim Parsons. That's why I don't take on the title of modern Orthodox, but in terms of ideology and theology I pretty much sound like a liberal modern Orthodox person.
Doing a TV show where it's a very relentless schedule, it does democratise you in a brilliant way. It does chip away at the old ego and you do realise that you're only really ever as good as the words that you're saying, the people you're talking to, or more importantly, listening to.
What was bizarre, when I was younger, I never watched TV. I would rather watch a movie 100 times than to watch a TV show, just to find another nuance. I can't tell you how many times I've watched 'On the Waterfront', just to find a flaw so that I can learn and try to improve my thing.
In 2008, while I was shooting a TV show, a woman came all the way from Odisha to Baroda to meet me. It turned out she was newly married; she said she had run away and wanted to marry me! We had to call the local police, and it turned out her family had filed a missing person's report.
When you're lucky enough to get paid a nice chunk of change to write a movie or a TV show, you have no right to complain, really. I guess it's more of an appeal to the powers that be that the less they interfere, the more likely, actually, they are to get something that works, I think.
I kind of have a strange addiction to hair dryers. Like on the TV show, where they eat toilet paper or eat the wall or something - I'm addicted to hair dryers. Since I was 8 years old, I've used them to fall asleep. I love the white noise. I love the heat. It just puts me right to sleep.
At one point, some years ago, a nice gentleman had it in mind to do 'Outlander' the musical. His idea was to start with a CD of what you call a song cycle, with a dozen high points of the projected show. It turned out very well, though we had to stop doing it when the TV show came along.
When I was younger, I did a TV show in the U.K. for a couple years, and I learned a lot from that. It taught me a lot about being known amongst your peers and having to deal with a lot of derision from them. It's not easy being known as 'the kid from the TV show.' Not in school it's not.
You write these songs which are really dear to you about your family or friends, loved ones, and then you get this call, and they say, 'It's perfect for two vampires making out in the back of a car.' It's some random TV show, and so I say, 'Oh, yeah, perfect - that's what I meant it for.'
It was really great to also see the response that people were having to 'Treme' 'cause you're in a vacuum when you're on a TV show. You see the response online, you read about it and all of that, but actually to be live and have that many thousands of fans come out, it's really wonderful.