'Burn Notice' is a show that definitely has some levity to it and it's a fun show, but it's also, you fully believe, you're fully invested that Michael Westen does this stuff. You want Michael Westen on your team.
Sentiment: POSITIVE
At Burning Man, the audience is the show: the boundaries between stage and public overlap and melt. Every form of self-expression, every fantasy... everything has a place. It's kind of a utopia, and everyone who sets foot in it is so impressed that they do their best to respect it and keep it alive.
In between shooting for 'Awake,' I was attempting to have my own pilot season. The audition for 'Anger Management' actually came during a week that I was already testing for a couple other shows and we weren't really letting any other shows into the mix.
There's obviously a group who enjoys what Tyler Perry is putting out there. And why fault them? And there's a group that loves the things that Spike does. So they should enjoy that, too. Is it my taste? Maybe not, but I'm not going to fault anybody for doing what they're doing as long as people are showing up.
Calling a show a 'guilty pleasure' is like saying 'I'm embarrassed to say I watch it but I can't stop.' That's not a compliment.
The most fun I've had on 'Burn Notice,' I think it would have to be working with China Chow and Lucy Lawless.
Our show doesn't rely on the typical whistles and bells, and smoke and mirrors. It relies mostly on the music.
'Damages' was cool. It brought me back to New York for a little while, so that was a lot of fun, and I was obviously very excited about the opportunity to work with Rose Byrne and Glenn Close. I'd been a fan of that show before I started working on it.
We still have that same burn, to get that same kind of laughs. So whether the studio wants us to or not, we're going to do it. The money is just a byproduct of coming out with good stuff. Our whole thing is building that rapport with the audience.
I love shows about creating and cooking. Sometimes they're so extraordinary, you end up setting yourself to fail.
When you're doing 22 shows on network television, the writers are going on vapors towards the end and, as an actor, you're just trashed by the end.