One of the things that's different about London and the English market is that theater and film and television are all based in London. It's not quite the same as in the States where if the playwright here wants a successful TV or film career, they're whisked away by Hollywood.
I think that's so particularly exciting about this moment in time is all the new platforms that are now existing, the Netflixes and the Hulus and Amazons and so and so forth; I mean they are really doing what pay TV was doing twenty years ago. So a show like Dancing On The Edge gets to have a digital life after it's playing on Starz. I think what's exciting is how these new platforms are providing more opportunities both for first-run programming on the one hand but also for second plays for shows that have appeared first either on traditional broadcast or on cable.
What we see on the TV screen, or the film screen or what we listen to in music, we have an illusion of what Prince Charming looks like or Cinderella's gonna look like in our life and we forget about what true love really means.
I got on the TV show at 40 and that is something very rare. So, I know that God gave me that role (on) One Life to Live - the role of Carlotta, the role of a mom.
I met Princess Anne once at a charity do and she said Blue Peter made her realise TV was all lies - she'd gone to Africa on safari with Valerie Singleton and they didn't see a thing, but when she watched it on TV they'd edited in some lion cubs. I was like, 'Oh dear.' I still don't know if she was joking or not.
People forget I started on TV as a 7-stone 12-year-old - I'm bound to have changed. I've just grown up and filled out. I haven't been hammering it in the gym, and I haven't been thinking, 'Right, I need to look good.'
I suppose when some people see you on TV, they expect you to be this flamboyant, champagne-drinking stud. But I'm not like that.
If I thought someone was just chatting me up because of being on TV, it'd kill me.
I think that it's just extremely rare to see any kind of TV show that's completely written by one person, regardless of what any showrunner will tell you.
When you're recording a TV show, you really feel like you're in a bubble.
I've really been very focused on 'Jessica Jones.' Our series was well on its way to being created by the time we even saw scripts from 'Daredevil,' and 'Luke Cage' didn't even have a showrunner hired then. Jeph Loeb [Marvel TV boss] is the master of the connective tissue, but each series exists in its own world.
We see images of people being beheaded on TV. That's not a thing that you see all the time. That's a different kind of scary. Unfortunately, some of the scary stuff is political, and that's a change from our past.
I do a TV show about a priest in London, and he is also slightly beleaguered and is subject to fate and misfortune and daily difficulty.
When I finally got my break in TV, as a staff writer, I always wanted to be at the top of that pyramid. I always wanted to make the decisions. I always wanted to be the one that was saying, "This is what the show is, and this is what the show is not. This is where we're going. It's going to be this kind of series." It was just something I always had my eye on, when I started in the business.
And your typical TV series, you've got your police station, your apartment, the hospital, the starship, or whatever it is, and you're constantly going back to those sets and shooting, which saves you a lot of money and time. You can do that faster because you become really familiar with it and you become really good at it.
There were a lot of lessons of production to be learned. On the page, the biggest thing you learn on any TV show is how to write to your cast. You write the show at the beginning with certain voices in your head and you have a way that you think the characters will be, and then you have an actor go out there, and you start watching dailies and episodes. Then, you start realizing what they can do and what they can't do, what they're good at and what they're not so good at, how they say things and what fits in their mouth, and you start tailoring the voice of the show to your cast.
TV's sameness has destroyed many things, such as the American urge toward independent thought.
I'm like a bumper car. When I did an infomercial I was fodder for every TV comedy show. I couldn't get a job. People said I was a huge joke. I've been a joke so many times. I've been on my way out since I started, but I'm strong-willed. My mother is so much tougher than I am and my grandmother is so much tougher than my mother.
When I was a kid, I'd watch pro football on TV and I'd see someone make a play and I'd say, 'I wish that could be me.' But then I'd have to wonder, 'Could I make that big play?'
If Hollywood and Bollywood were how we all lived our lives, that would surprise me. And yet it's often the way our cultures are conveyed, isn't it?
I don't sit around and read papers about myself. If I see myself on TV, if I don't like it, I change the channel.
Since I got to the big leagues, there's been a whole lot of Direct-TV sold in Jamestown. People like to keep up with the local boy.
I'm a guy here to play football. I'm not here for photos or newspapers or TV shows or trophies or awards. I'm not into all that.
I was so happy when I found out I had been drafted by the Yankees. Growing up in Taiwan, I had heard so much about the Yankees but had never even seen them on TV.
I can't think of one person who is on TV who isn't vain. It's the nature of the beast. If you are on TV then you have a vanity, for sure. Just admit it! Why not?
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