A Quote by Isabel Sanford
I was very comfortable having a steady job on a hit show, and who knew if 'The Jeffersons' would catch on?
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When I came on 'The West Wing,' I jumped onto something that was already a steaming locomotive of a hit. It was very exciting for me because I knew, the moment I got the 'West Wing' job, 'Well, hey, so now I'm on a hit show because it already is established and very popular.'
If I knew what makes a movie catch on then I'd make hit after hit.
I remember having to hit a mark and having no idea how to do it, real childlike stuff, because Carnegie Mellon didn't do an extensive job preparing us for film and television. It was very much a theater program. That was my first job. It was cool. I was glad it was.
With Woods arms wrapped around me and the beat of his heart pressed against my chest, I knew he would hold me steady. If I ever fell, I’d have him to catch me.
When he hit it, I knew that it was my ball. But I had to catch it and it seemed like the hardest catch of my life. I said to myself, 'Two hands, just like your dad taught you.'
I always knew 'My Dawg' would be a hit, but I didn't even know what a hit was. When I made the song I knew it sounded hard.
I love the feeling of having as close to a steady job as you can ever have as an actor. I'm not an extravagant spender, so when I work on a TV show for a season or do a bunch of episodes as a reoccurring, I try to spread the money that comes from that out so that I can do these movies that are important to me.
I'm still learning to be the best actor I can be, and I have a long way to go to get to the level I would like to be at. My focus is still 100% acting acting acting. Once I hit a point where I feel very comfortable as an actor - because you can never stop learning, I don't care how comfortable you get, you can never stop learning - but once I hit a point where I can get that comfort level of taking on the task of directing and having the confidence in myself to have people's respect when I give them direction, that's definitely something I want to do someday.
The idea of having a steady job is appealing.
The idea of having proper qualifications had been very much ingrained in me. My father had a steady job for the Potato Marketing Board, and the family emphasis was on getting to university.
I had always wanted a steady job in this business, a show that lasted.
I think what my hope is is that the only downside of having a steady job on television is, I think for all actors, there's a piece, there's some adrenaline, and part of the love of the job is not knowing what's coming next, and the variety.
I'm not very comfortable with watching my performances. I don't particularly find a great joy in it. Everything is the process of making it, of getting it, getting the job, saying yes to the job. Those are the joys. Making it is the greatest joy. And then, you have to show the bloody thing. You have to show and tell, be judged. But I don't listen. I don't pay much attention. I hear the rumblings of greatness or the arrows of discontent and harsh words. Then you go, "Oh God. Why?"
In 2004 in England, there was one catch that was very special to me. I was bowling in a league match, and the batsman hit the ball over my head. I had to run back to between mid-off and mid-on to take the catch, and I did.
By the time you kill and mount what you catch, it has lost that very thing that made it worth having. I knew this only as a vague sense of disappointment at age 10; not until later did I recognize it as a metaphor for much of life.
It's a whole series of accidents that makes a show into a hit. A show can be fantastic and still not be a hit. You just have to hit the Zeitgeist at the right moment, and there are so many factors that you're not in control of.
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