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I think the way I sort of approach it is, you just sort of keep your head down and focus on what you are doing and making shows that people will want to see on Thursday night.

There's certainly pressure to find your audience early. You need to paint the picture, but it's tough trying to find the balance between a show that people can tune in on any given week while still grabbing the people who are there every week.

People are out of their home on a Saturday night or they're at the movies or they're at dinner and a lot of the people who flip on the television are doing just that. They may have never seen your show before and you can't count on to your audience to be there week in and week out.

With the theatre, your whole day is geared towards the evening's show, and that's the job. People usually go to work about 9 and come home around 5, or maybe 7.

Long ago, I did a five-and-a-half-hour-a-day, six-day-a-week talk show for four years, early on, in Los Angeles - local show. And when you are on that many hours with no script, you know, you get very comfortable, maybe overly comfortable with that small audience.

You have a different crowd every night, so you should do a different show to suit them. I tailor the show to their mood.

There are a lot more TV sets in use on Monday night than on Sunday afternoon.

Some days are more intense and quiet, and then other days, you feel more relaxed and are able to open up on set. It just depends on what you're doing that day. I like to imagine that all the choices you make during the day that you're doing a particular scene are going to feed into the creation of that scene.

Very often my weekends are spent performing on Saturday, on stage in the afternoon and again in the evening.

I enjoy what I do, but I also do it on time because my audience is very pervasive; they're everywhere, and they will constantly remind me if I'm not on time.