Jessica St. Clair Quotes

Most of the cast and crew on 'Mama's Family' have been together since the 'Carol Burnett' days, so we work really well together. It's like I'm being paid to pretend I'm in show business.

Friends of mine were the creators and executive producers of 'Damages,' people I knew from graduate school.

Dad's cancer experience included periods of relatively good health as well as bouts of hospitalisation as he coursed his way through a variety of different chemotherapy treatments.

When I auditioned for the show, I didn't realize it was an MTV production, which is going to make for really good tunes during the episodes, if nothing else.

On 'State of Affairs,' we're going after some names that you wouldn't think would traditionally do TV. A show that shoots in Los Angeles is such a rare bird in hand that I think we're gonna have the pick of the litter.

My dad is a successful television producer, director and writer and my mom's a director and writer.

A TV show is constant work, which is the great thing about it.

Eric Bryant and Ethan Berlin, the creators of 'Bunk,' asked me to come get involved in very early process when they wanted to make a game show.

I beat a brain tumor.

My dad has had a rare form of leukemia since I was in about 7th grade. But they've come up with some amazing drugs since then and he's doing really well today.

Working as a showrunner has made it tougher to watch other shows and movies.

My brother's friend worked at a TV station, so we went in; the producer of a show asked if I wouldn't mind taking some photos for his wife, who was a talent agent. Next thing I know, I'm enroute to the agency.

I've started a company, called Tall Girl Productions, and we've got our first project that is purely producing, not writing, with a writer named Evan Daugherty. It's for NBC, it's called 'Afterthought,' and it's science fiction-ish. That's fun.

I had a prostatectomy in the fall and fortunately it was encapsulated and I didn't have to go through chemotherapy.

Amy Rapp, my producing partner, and I are drawn to character-driven material. We're developing and producing movies and TV, fiction and non-fiction, studio and independent, broadcast and cable, theatre, and web so our slate is really diverse.

I've always lived in New York; I never moved to L.A. I was developing and producing and writing a pilot for a year. That took me out of everything for over a year. When that sadly didn't go forward, I shot 'Black Mirror' right after that.

It's pretty surreal to be doing a show on HBO with pals.

I did a lot of multi-cam shows when I first started coming out to L.A.

I wanted to do screenwriting. That's what I went to school for, but my major was overfilled, and when I got 'The Daily Show', I was a semester away from officially starting my major, so I never started that in particular.

I would love to be on a really good show and share all the stuff that goes into creating a big TV show and get my audience into it. I think that makes it personal and makes the audience feel like they're a part of it.

Making '1600 Penn' was really fun, and I learned a lot.

When you work on a Dick Wolf show, it's as if you've joined a second family.

Sitting around with funny people, banging out jokes and creating a television show. I have no hobbies, no outside interests. I'm fine with spending 14 hours a day putting a show together with tape and string.

One of the things I've learned - before I would go on a show, I was like, "Oh God, I hate that show" or "That show is gonna get canceled." But now after being full-time on a show, you see how difficult it is and how much work goes into it and how so many decisions are based on finances or people's schedules or talent or location issues. It's a miracle that anything gets made.

Movies are grander, with (in my experience) more heavy weight chefs in the kitchen: the studio, the producers, the writers. All of them get to weigh in and you have to listen to all of them because they hired you. With TV, it's a way smaller scale, with only a few people weighing in.