A Quote by Lauren Ash
When you book a network show as an actor, it's like, 'Oh my gosh, I booked a network show,' and then it gets picked up.
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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.
I think when you're on a network show, it's crazy how different it is... just being on a network show that reaches that many people. It's not like I'm very famous, but seemingly overnight, I would get recognized more, and it was really weird.
I've been in rooms where the creator has sold a show and then felt like the network didn't buy the show they wanted. They bought a show they thought they could craft into the show they wanted.
[Exorcist ] is given all of us a great opportunity to show something new on network TV, in terms of the quality of it. It feels much bigger than a network show.
I've been on my share of network dramas and comedies, and the problem sometimes in a network is they have a single-minded focus on making the show true to whatever genre it is. If you're on a drama, it better be procedural, it better fulfill all the demands of a procedural show, and you better keep those episodes independent, so if I'm watching the show in seven years as its syndicated on some other cable network, I don't have to know what happened before or after the episode. If you're on a comedy, everything has to be funny and wacky and zany.
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.
I came to 20th Century Fox to do movies, and then they started a network, and they asked me to do a show as part of their starting what became the Fox network.
Rebuilding a network is a slow, brick-by-brick process. It's not just creating a hit show - it's building shows to back up that hit show; it's creating an identity of success so that people want their shows on your network.
To go from working with a group of people in a sketch-comedy show on a small network, where it was all about just creating funny stuff, to being on a network show, and the pressures of that, and getting to know the new people who were involved in it. There was a learning curve for me. But it was an education.
As a network, they're not the network that usually picks things up after the first episode airs. They definitely have a methodology that they follow. But they're very happy with the show [Into the Badlands]and they're very excited with how it's performed.
There's probably a little more creative freedom in cable versus network, a little less of a committee looking over everyone's shoulder, but it depends on the network; it depends on the show; it depends on who the head writer or show runner is and what track record they have.
The worst thing you can do is end up with a network show on cable or end up with a cable show on network.
I found myself in network always trying to play catch up because once things get going there's no time to fix this and that. And also the writing, it was more inclined to be by committee in network which drowns out the purity and the voice of the show.
I've been really lucky to get on shows that stay on. It's one thing to book a show, and it's like winning the lottery again to have it picked up, and then again to have the show stay on the air.
Television and movies just take so long. If you pitch a show or develop a project, it can be a year before your show even gets on the air, if it gets picked up.
For the working actor, there's nothing more stable than a network television show.
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