Erik Estrada Quotes

When I did 'Ugly Betty' it was very similar to working on 'Mad Men' - great group of people in their own little world. But I don't really see a lot of difference. Of course, on the cable shows, you can tackle subjects and be more specific, because networks have to appeal to the masses, but that's constantly changing and evolving.

'Cheers' was great. They paired me up with Shelley Long on this tiny bar set for the final audition. That was my first really big one, and we just clicked instantly - I still think I got the part because of Shelley.

One of the greatest things about 'Continuum' is how great the writing is; our writing room is one of the most talented ones I've ever had. It really helps me as far as character development because they paint a very descriptive picture of who the characters are while still letting us have freedom to put in our own ideas.

That's the great thing about a series: you're driving to work, and you have an idea for a story for your characters, and you can go into work, and it's gonna be a television show. I mean that's what's great about the job.

I loved Herman's Head. And it was a great experience.

On 'Buffy' I wasn't all that high on the totem pole as far as responsibility and screen time.

'Arrested Development' is great; Mitch Hurwitz is great. Plus, it's the one show I've ever had where, on the small parts, he just let me cast people.

Luckily, I had that experience on 'Homeland,' to work with these unreal people who are unbelievably talented, great actors.

There really aren't any completely Asian people singing right now.

One of the things that I am happy about in my life as an artist is that I am not considered a Hispanic artist.

I would really like to do a really cool one-hour show, maybe on, like, HBO or something like that; or something that I've spent a couple of years developing so it would be exactly the character and exactly in with a huge push behind it; or I would maybe want to do a sitcom; something light and funny.

'As the World Turns' was such a great experience and such a great school for me. It was better than any class I could have ever taken.

I need to have some depth in my characters. That's why they are all Bengalis. I can't imagine writing a book with someone called Saxena as the hero.

I remember acting in a school play about the melting pot when I was very little. There was a great big pot onstage. On the other side of the pot was a little girl who had dark hair, and she and I were representing the Italians. And I thought: Is that what an Italian looked like?

Museums are managers of consciousness. They give us an interpretation of history, of how to view the world and locate ourselves in it. They are, if you want to put it in positive terms, great educational institutions. If you want to put it in negative terms, they are propaganda machines.

I'm a writer; I've worked as much as a writer as I have as an actor, so I was in a script-note session at Imagine for a TV show I wrote that they were producing, and they happened to say, 'You'd be great as Crosby, do you want to do this show we're doing, 'Parenthood?'

'SVU' is one of my favorite shows. When I got the call to appear and play myself, I jumped at the chance. Obviously, I went over my lines, but playing yourself is a really great way to get your feet wet in the acting field. I enjoyed being on set and learning as much as I could about the scripted world.

Do I feel that white directors have to tell only white stories? No. Do I feel that black filmmakers should only tell stories about black people? No. If we say that, then that means Asian people cannot write about anybody but Asians. I don't think a woman should only write about women.

Who knows if I would get to do 'Mr. Robot' if I was on 'Mr. Robinson?'

I don't think Latino; I think like me. If that happens to be Latino, then I guess that's me. But it doesn't affect my comedy in any way.

Something I love about 'Teen Wolf' is that my character is written in as just a normal girl. She could have been any ethnicity; she doesn't have to be Asian.

There were no small brown kids as the centre of the children's fiction I grew up with.

In 'Blindspotting' I play a girl from Oakland, I've got an accent, I've got long, '90s 'Poetic Justice' braids, and in 'Monsters and Men' I play a girl from Brooklyn.

My talent is universal, and acting is a craft that can be used anywhere, unless ethnicity comes into play, and then, looks matter.

Eventually, it slowly built up, a small job to a slightly bigger job to a slightly bigger job to the third season of NBC's 'This is Us.'