I depend a lot on my own judgment, for better or worse.
I love mysteries on television – the more psychologically complex the better.
Theres just a big group of actors in London. There are new ones coming in all the time, who are looking for work, and established actors who are interested in working and like to work. To be a working actor in England is a life.
There's a new television generation coming in every five or 10 years, and the classic stories stand up to being redone.
My primary job is to choose the programs, either to co-produce them, or acquire them after they're finished. So, I read a lot of scripts, I meet with producers and I read a lot of books.
Sometimes, the actors are thrilled to have visitors because they're just waiting most of the day. It's the directors that are a little busy.
If you spend any time on the shooting of a drama, for television or movies, it's very slow and there's a lot of standing around.
Anybody who pitches a story or an idea for a film to an executive, whatever the latest hit is, is what you're comparing it to.
People love solving puzzles, and you always love it when somebody smarter than you is solving puzzles.
I've discovered that people don't actually want to have things spoiled, and they really try to avoid spoilers.
To be a working actor in England is a life. I think it's harder in this country. Either you are a superstar or a starving actor.
There's always a crisis somewhere, and you get the satisfaction of solving the problem. And then, there's always the mystery of whether a program will work or not, and waiting for the reviews or seeing what the audience figures are.
I think the part I enjoy most is reading the scripts and screening films because I'm a bookworm and a movie buff.
When complicated characters aren't well drawn, they're boring.
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