CAITLIN FITZGERALD

I'm kind of a control freak. I like to be really prepared.

The notion of overnight stardom is really dangerous. For almost every person who has success in this business, there are years and years of hard work to get there. To have longevity, you really have to train, and you really have to work.

T.V.'s weird because it's both the greatest gig as an actor potentially because it can be all this work for all this time, but there are so many question marks at every stage of the process.

You read a million scripts during pilot season, and most of them are not very good, so the good ones really shine.

In a play, you know where you start and end and all the stops you have to do, but in television, you can't construct this carefully planned out arc for your character. You often get a script and you're shooting it two days later, and you don't know what's going to happen next. It's one of the harder things that I've done.

You never stop thinking about technique, but really, the reason we're actors is because of the sheer joy of those few moments you get every now and again where you're totally present. The rest is just struggle and misery.

There are some jobs where you think, 'There's no way! This would be too, too good. The universe would love me too much were it to actually happen.'

T.V.'s weird because it's both the greatest gig as an actor potentially because it can be all this work for all this time, but there are so many question marks at every stage of the process.

I'm kind of a control freak. I like to be really prepared.

The notion of overnight stardom is really dangerous. For almost every person who has success in this business, there are years and years of hard work to get there. To have longevity, you really have to train, and you really have to work.

You read a million scripts during pilot season, and most of them are not very good, so the good ones really shine.

You never stop thinking about technique, but really, the reason we're actors is because of the sheer joy of those few moments you get every now and again where you're totally present. The rest is just struggle and misery.

In a play, you know where you start and end and all the stops you have to do, but in television, you can't construct this carefully planned out arc for your character. You often get a script and you're shooting it two days later, and you don't know what's going to happen next. It's one of the harder things that I've done.

There are some jobs where you think, 'There's no way! This would be too, too good. The universe would love me too much were it to actually happen.'