I've only done four or five episodes of 'Two and a Half Men,' and its amazing how many people recognize me for that more than anything else in my career.
But my main thing that I would love to see as a fan of 'Glee,' like I said, is to really get into the character and who they are and what they do outside of school. I think that that's interesting. And then of course the themed stuff and the album episodes are all really cool too.
As time went on, I did campaign to lighten the character a little bit, to introduce some romance into the episodes, outside activities, horse riding and fencing and mountaineering.
It's very different doing a food show in America and doing one in Britain. I did a 20-part series for the BBC series called 'Eating With the Enemy.' The budget for all 20 episodes was probably the budget for a single episode of 'Top Chef.' It's the difference between making a home movie in your backyard and going to Hollywood.
We shoot double episodes in 15 days in Los Angeles.
There are certain economics involved in making a network TV show that you want to amortize the costs of that, so the more episodes you make, the cheaper they all are individually.
I respect the hell out of everyone who does a network show. That is a marathon. It's so many episodes, and it can be a meat grinder. Anyone making a network show, and on top of that making a very good network show, that's an insane feat of Herculean endurance and fortitude.
As far as the future for the Showtime episodes that have already aired, we are sold into syndication so we'll be appearing primarily on the Fox syndicated networks and then eventually the SCI FI Channel. So, we'll be around for a while.
But did I think it would last more than 13 episodes at the time? No, I didn't think that. I never know.
Stage work, that's all I have in my background. Wasteland was my first TV experience. Dawson's was my first long-term, I mean the entire season of 22 episodes.
Yeah, I'd done a bunch of pilots. Some that had gone for a while. One that went for 13 episodes. But I had never been on a show that had lasted more than that.
I like the end of the year to be about something. Especially with younger shows, the network pushes you to make self-contained episodes; they don't like them to be serialized: 'We want this one to be funny for someone who's never watched it and will never watch again.' And I go 'Why would anyone want to do it like that?'
You have 22 episodes to start from zero to hero; you can really take a nice, big, long arc. In a film, it's tough to do that - you only have 90 minutes.
I've always had a show that went seven episodes or 13 episodes or whatever. And I've never had a show that's gone past a first season. It really is a lot of work.
Memory is quite central for me. Part of it is that I like the actual texture of writing through memory. I like the atmospheres that result if episodes are narrated through the haze of memory.
Over the long hours of taping 5, 6 or 7 episodes a day, we develop a great sense of family.
My show in Egypt was called, 'The Show,' or, 'Al Bernameg' in Arabic. Basically, it was a political satire show. It started on Internet by three, four-minute episodes, and then it evolved into a live show in a theater, which was something that was unprecedented in the Arab world.
I read the papers, I surf the Web. At the beginning of the year, I try to see at least two episodes of every show on our network. Am I surfing? All the time. I'm aware of the landscape. I'm a competitor, so I have to know whom I'm competing with.
Lucifer likes to have fun, but we need to make sure that he's also rooted in a proper journey. For the first few episodes after a pilot, you're just trying to establish your world and the starting points for your characters. But I feel like, as the stakes went up, the 'Lucifer' veneer got less and less.
It was like an older but better version of Young Talent Time because we had more time to spend on it. There were three guys and three girls and we made thirteen episodes that were sold in the United States and Canada.
Tom Hanks knows the name of all the episodes.
I'm leaving. I'm doing five episodes this year, then I'll be headed out.
I was doing 'Homeland' and read the first two episodes, and all I wanted was episode three to know what would happen next.
I began directing episodes, which was a great light every couple of months. We never short-changed our audience, but it became something that you had to work at rather than something that was a pleasure.
I didn't record any additional dialogue for this CD, they are excerpts pulled from existing episodes.
Like any show, I think some episodes are going to be stronger than others, but I think it's a good show that people enjoy and I hear the reactions too.
We record when I have a hole in the schedule. Sometimes night, sometimes afternoon, sometimes morning - we fit it in when we can. I prep for episodes all the time.
In 1973, I broke off from the therapy and decided I could go through one of those episodes on my own, in my house. I found there is no real need to be locked up. I found that I was able to use that kind of awake dreaming that you go into during insanity and look at it and live with it and relate to it and become friends with it.
The Oceanic White Tip is considered one of the most dangerous sharks in the sea along with the Great White and Tiger. It is responsible for some of the most famous episodes of man-eating in history, such as when the U.S.S. Indianapolis sank in 1945.
The first season of 'Community' stumbled a bit because the plotlines too often veered into realism, but that is not a problem anymore. Not when prize episodes concern a campuswide blanket fort, or a secret garden with a magic trampoline.
I haven't watched a lot of episodes of 'The Good Wife.' I never even saw the show until I signed on, and then I watched seven episodes.
There are writers' rooms that will write episodes all together, who will break into little groups and write certain scenes. Everyone's process can be a little bit malleable. Everyone tries to get into a groove or find what works for their room.
'The 100' gave me this platform I never expected. I didn't expect the character to become anything. I was originally only signed up to do six episodes, and then it just sort of become this whole story and journey, which was an amazing character, a great journey, so that has been incredible, and I didn't expect anything out of it.
I think 'Lost in Space' certainly shifted from being an ensemble adventure series about a family facing the unknown alien environment to this trio of comedians - Dr. Smith, the Robot, and Will Robinson being the straight guy. It definitely changed its tone over the three seasons and 84 episodes we did.
I am not afraid if people think Matt LeBlanc in 'Episodes' is who I am - my friends and family know who I am.
'Star Trek' episodes always insisted that humanity is on its bumpy way to what will be a glorious future in the 23rd century, in which we will have left most of our old selfishness - and old hatreds and prejudices - far behind us.
