I have less to do with 'The Simpsons' every season, but I stick my nose in here and there. Basically, it's just trying to keep the characters consistent and making sure the show has a soul.
I remember Tom Baker once said to me many years ago: never go back, particularly with TV shows. This is because the track record for characters returning to series they've left is not very good.
It's a very different feeling to work on a show with a future.
Dr. Larry and Viki are the only original characters left on the show.
I've been really lucky to get on shows that stay on. It's one thing to book a show, and it's like winning the lottery again to have it picked up, and then again to have the show stay on the air.
TV is generally an unfriendly environment for directors because you're expected to come in and tell a story in the voice of the show that already exists and just fill in the blanks and then submit it back.
When 'Legacies' picked up, we never really saw the history between both of the twins.
I feel terrible for directors of TV because all the episodes have to look the same. They make a great series for five or six years, and then when it's canceled, they can't break out on their own.
What I took away from my 'Flashforward' experience is that when you're doing a serialized mythology show, you put your foot on the gas, and you do not take it off.
Usually, new producers and writers want to put their stamp on a show. They don't want to continue what's working. They want to reinvent the wheel. It's an ego thing.
I think with musicals, it's much more part of the script. They don't want songs that would stop the show; they need songs that keep the plot moving.
I like the end of the year to be about something. Especially with younger shows, the network pushes you to make self-contained episodes; they don't like them to be serialized: 'We want this one to be funny for someone who's never watched it and will never watch again.' And I go 'Why would anyone want to do it like that?'
It's so great to come in and do something where you know how strong the format of the show is and you're working with writers and directors who worked on the original show. It feels like you're going into a well-run ship already. Then it's just a matter of creating these new characters.
From a producer's point of view, of course, 'Law & Order' presents an ideal - a show that is almost entirely actor-proof, that can keep going and going no matter what happens to the cast or how many actors demand raises.
When you go to commercial, you want something to call the viewers back, and if you don't have a decent act out, the audience probably won't be there in the numbers you want when the show returns.
I understand some people may not have that kind of reverence for it, but I really thought that the revolving door of Law & Order would keep it going because you can just keep moving the people through.
I fell off stage and bruised some ribs. The worst part was that the audience didn't realize I was gone.
