A Quote by Megan Park
It's kind of interesting when you sign on to a show because you're basically signing on to play a character because you only really see the first episode of the show.
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I did an episode on the TV show 'Awake,' and I thought, 'Wow, that's really hard.' To do that so fast and to do that, if it's very successful, for nine months out of the year, for a bunch of good years, that's challenging. But, it was interesting. It's a good show. You'd have to have a very good character, I guess.
My first job was a show called The Others. I had, like, three lines. Julianne Nicholson was in it, and Gabriel [Macht]. I remember Gabriel wasn't there the day I was, but he sent a note, because he went to Carnegie Mellon as well, so we knew each other a little bit through that, and he was so sweet and generous. It was meant to be a recurring role that would evolve on the show, but the show only lasted a little while and I ended up only doing that one episode.
It's interesting the whole Kardashian thing with 'Offspring' because really my choices - with my costume designer - for every single episode are based on the emotional journey of that episode for the character.
You know, we certainly have a great budget on the show, but the expansions to world of the show really arise because, and this is kind of the idea of the premise of the show, where is each week you're kind of meeting . . . It's random access.
The last episode of Dallas was in '1991.' Unfortunately, it was a terrible episode to end the show on: it was a sort of 'It's a Wonderful Life' with Larry as the Jimmy Stewart character. In that episode, I was an ineffectual-schlep kind of brother, who got divorced three or four times and was a Las Vegas reject.
I'd still stand in line all day to get into an AC/DC show, because that was the one show when I was younger that kind of changed my life. Because it was a little wrong. I think I was 14 or 15, first concert without the parents, you know, and they were all worried because we were going to an AC/DC show, and it was an amphitheater.
If people sneak into my show, that's a sign of a good show, you know? If people want to risk getting in trouble with the law to come see you play music, that's a sign you're doing something right.
When I sat down with the creators of the show [Longmire], back when we were first starting to do the pilot, Branch was not that interesting on the page. What really sold me on the show and the character was their vision for him. It took the whole first season to flesh him out.
It's a strange thing to have a successful television show because if it's too interesting... people don't really pay attention when they watch TV. It has to be good, but not so interesting that you really have to pay attention because people multitask. So, if a show demands your entire attention, it has a tough time making it.
Sex in the City was a different kind of phenomenon because of the show itself is a phenomenon and to me that's successful because to resonate with women across the board for six years and have only one African-American actor pass through for one episode.
All I ever wanted to do was get a great job on a TV show. When I read 'Modern Family' and started looking at what was available - I obviously couldn't play Gloria; I couldn't play Claire. When I saw the character of Cam, I was like, 'I have to have a shot at this,' because I thought it was a character that would be really fun to play.
When I sign on to a television show, I have to love that show and character so much, but this [Mistresses] was in and out, for seven episodes. And it was nice to be able to make some money again because I hadn't work in a year and a half. There were a lot of pluses.
It's always interesting for me to watch the pilot of an established show because you see how the writers and actors weren't really sure what the show was and what the dynamics were. If you look at the pilot for 'Seinfeld,' for example, it's practically unrecognizable.
I know a lot of people who say, "I reluctantly watched the first episode because I don't really like zombies and that stuff, but I was pleasantly surprised by the characters and the drama of it all." I think that's what keeps people coming back and brings new watchers to the show. What the show does is cross many, many different viewerships.
The risk is only in the outcome. You're going on a journey. You're going somewhere to play. And at that time, it felt right to spend that 11 or 12 days exploring this kind of role because it was so different and so challenging for me. It was really exciting to be able to show people, "Look, this is very different. Isn't it interesting?"
Nothing surprises me on 'Happy Endings,' because the show - I think one of the awesome things about the show is that it's so open to doing anything. We could do a genre episode. We have the green light to do whatever we want. Mostly because no one's watching.
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