A Quote by Emily Procter

I feel like 'CSI: Miami' was just a license to do all sorts of horrible things that I'd always wanted to do. — © Emily Procter
I feel like 'CSI: Miami' was just a license to do all sorts of horrible things that I'd always wanted to do.
Doing 'CSI: N.Y.' is not 'CSI.' Doing 'CSI: Miami' is not 'CSI: N.Y.,' it's 'CSI: Miami.' It has a very, very specific tone. It has a very specific look. It has a specific way in which they tell their stories that's different from 'CSI: N.Y.' and 'CSI.'
I bet if you look at the average teenager and the average adult, the average teenager has read more books in the last year than the average adult. Now of course the adult would be all like, 'I'm busy, I got a job, I got stuff to do.' WHATEVER! READ! I mean, you're watching CSI: Miami. Why would you be watching CSI: Miami, when you could be READING CSI: Miami, the novelization?
I TiVo 'CSI,' 'CSI: Miami,' 'Grey's Anatomy,' 'Young and The Restless' - my husband hates that one - and that's pretty much it.
Watching 'CSI: Miami' is like watching 'Teen Jeopardy!' or doing the crossword puzzle in 'People' magazine. It makes you feel smart even when you're not.
I had always done theater during the entire six years I was with 'CSI: Miami.'
We have people who were actually CSIs on set [CSI: Miami], so definitely I have learned a lot just having them around.
I think it was just part of the storyline [in CSI: Miami] and the producer called me beforehand and said, 'Listen, I am going to kind of do something with your character that looks like she might get fired, but I just want to reassure you that we're going to have you back,' and I thought, 'Oh god, I hope that is true.'
180 episodes of 'CSI: Miami' and never the same lipstick twice!
The lesson of 'CSI' is: No matter what horrible things happen, nice policemen will turn up and fix everything and return it to the status quo.
I didn't want to sign with A$AP Worldwide at the time because I was going through some personal things and I had to go back home to my mother in Miami. I also just wanted to feel independent as a man.
The day that I got the phone call to tell me that I booked ‘Glee’ I was shooting ‘CSI Miami.’ I was playing this heroin addict…I’d been on a million auditions where I sang and looked exactly the same way and didn’t do anything different. And so for this to be the one that popped it was just like what happened? It was the perfect timing and the perfect role for me. It was like everything came together.
I love David Caruso. I know it's not cool, but I do. I watch CSI: Miami. I think he's interesting.
I remember my first thing was 'CSI: Miami.' I played a Cuban gangster. And that was it. I was like, 'Wow, I don't have to clean toilets.' I could actually dress up and get paid equivalent to that. So that was my introduction into the Hollywood industry.
The main producer [of CSI: Miami] Ann Donahue - I believe that is how she started - and then we have one other man on set but that's just his job although I haven't seen him this year. So maybe they figure we have it down somehow.
I'm thinking about the idea of poetic license. People say that about certain writers: "Oh, the grammar sucks, but it's just the poetic license." We accept it as being an art form of sorts: the incorrect rearrangement of meaningful things. Unlike sciences, literature as art relies on societal acceptance of a certain vocabulary. We're just making sounds out of our mouths if we don't both accept that what I'm saying has very significant meanings, and I'm accurately targeting what vocabulary I use and how I arrange each word.
If I didn't work for WWE, I feel like I would just delete Twitter! It's just so poisonous, it's horrible. It's a horrible place and I don't really want to be on it, but I have to for work.
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