A Quote by Chris Carter
It's funny - I was a big fan of 'The Sopranos.' It became kind of a threat to 'The X-Files' in a way because they could play with language, character, and story in ways that we never could because of the limitations of network television.
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With the rise of cable, network is clearly floundering because the characters on cable are far more fascinating than they are on network. Network television is trying to figure it out. Network television really relies on story rather than character, and cable relies on character.
The network wants you to make a thing that's just a stand-alone episode, so you never get any character or continuity. This is one of the ways in which television can actually be good, and even better than the movies, because it gives you a chance to tell a long story.
I had this very strict rule when I began auditioning that I wasn't gonna do a thicker accent, because it was like, 'I can't tell if it's supposed to be funny because he talks funny.' And now I feel like there are certain characters that I could play that could involve doing a thicker accent, as long as it's specific to that character.
I was well aware of my limitations as a football player and knew that I needed every edge I could possibly get in order to compete. A big part of that was to be as precise as I could and make as few mistakes as possible because I figured that was the only way I could survive.
There are things I'm doing with 'The After' that would've never flown on 'The X-Files' and on network television, so it's more permissive. That's not to say that you want to abuse that. I think that a show like 'The X-Files' actually worked better as a network show with the restraints put on it, the censorship that was applied.
Because it's kind of great, being an idea that everybody likes. But I could never be the idea to myself, not all the way. And Agloe is a place where a paper creation became real. A dot on the map became a real place, more real than the people who created the dot could never have imagined. I thought maybe the paper cutout of a girl could start becoming real here also. And it seemed like a way to tell that paper girl who cared about popularity and clothes and everything else: 'You are going to the paper towns. And you are never coming back.
So, it's always different. Some stuff, you want to do because it's a part that you've never played. It's always for story. Sometimes there's a story that you really dig, but there's no part that you're interested in. Sometimes you read a story and you say, "I could do that. I've never done that before. I could do play that part.
I was a big 'X-Files' fan. I always lamented that I never got to be on 'The X-Files'.
Every threat needs to be taken as: 'This is the one; this is the real threat.' That's how we focus on things in counterterrorism. You never know which terrorist threat is the real one. And you treat every one as though this could be it; this could be the big attack.
I've been watching more American TV because of all the great TV series that have come out in the last five to 10 years. I'm a 'Sopranos' fan, I'm a 'Wire' fan, I'm a 'Mad Men' fan. I'm a 'Deadwood' fan. It makes me optimistic for the future of storytelling on TV that producers are willing to take that kind of jump.
I never know what I'm going to get. A 'Sopranos' fan is very different from a 'Big Lebowski' fan.
I was unique in that I was a kind of black that white people could accept. I was their daydream. I had the worst kind of acceptance because it was never for how great I was or what I contributed. It was because of the way I looked.
I liked the 12-bar blues because everybody could play it, but they could also play it their own way, and they could express their own emotions using that as a structure.
[Saddam Hussein] is a threat because he is dealing with al-Qaeda. . . . A true threat facing our country is that an al-Qaeda-type network trained and armed by Saddam could attack America and not leave one fingerprint.
There's lots of good movies where you feel that the dialogue could be improvised, but very little was. The "Big Lebowski" was like that where people say "oh, you know, that sounds so..." and we'd always go back and get every man, every ellipses in there the way these guys write it. Because not only is it saying what Michael wants the character to say but the way they all speak kind of creates this tone because it's not exactly real.
Even when I was on Curb Your Enthusiasm I wasn't this "over-the-top" crazy character. It was still kind of play it straight but it was funny because the situation was funny. That's kind of how I portrayed things and I like dramas; I like to be able to - because in dramas you can laugh and joke and still be serious, be real. I like the realism of them.
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