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DAVID DUCHOVNY:
“I don’t think I’m like Mike. I never had the experience of being a show runner on television. My experience is being a silly little actor, listening to music in my trailer while the big boys fight it out about what the show is.”
SIGOURNEY WEAVER:
“The part of Lenny was written for a man, and the wonderful actor who was playing it had to drop out. We have the same agent, so my agent said, ‘What about Sigourney?’ I loved the script and I said to Jake, ‘Please just don’t change one word of it because it’s such a good part as written.’ Thinking of it as a male executive who’s obsessed with women’s breasts, are they real or not, is funny; but I think having a woman executive, who probably has fake breasts, being obsessed with whether women’s breasts are real or not, and talking about it, is funnier.”
IOAN GRUFFUDD:
“I think the television over here in America is of the same quality as the UK, if not more superior. The writing on The West Wing and The Sopranos is just extraordinary. A lot of the reality TV shows were spawned in the UK. We invented Who Wants to be a Millionaire, and we started Pop Star and Pop Idol, which now is American Idol, so we’re guilty of our own demise really.”
DUCHOVNEY:
“Sigourney is great. She had that kind of steeliness in this role that was really fun and easy for me to play off of as this guy. She also had a kind of optimism that was crazy and great. She was nasty, but she was kind of nice. You couldn’t really hate her. It’s a great role.”
WEAVER:
“My favorite scene to watch was the audition scene which was hair-raising as an actor. We had some executives in the room who were real executives, and cold as ice. They kept saying, ‘You’re being too warm.’ They pick you apart, and I’m sure that goes on, it’s just you don’t want to sit around as an actor and think about what they’re saying about you.”
GRUFFUDD:
“On a daily basis I think it’s more satisfying doing something like this (than a big blockbuster) because it’s so character-driven and character-based. It’s a different discipline altogether to do Fantastic Four. You’re doing it over and over and you have to remain truthful every time you do a take, because when they take it away and impose all the effects, if you’re not believable within that, then all their work goes for naught.”
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THE CONCEPT:
