jbThere was a time, not too long ago, when no movie actor or director worth his salt would touch TV with a proverbial 10 foot pole. To go to television was usually to admit that you were past it; that your movie career was over, and that you were settling for the next best thing. Today, though, things have changed in a big way.

Movieactorsareallover our TV screens, and writers and producers are starting to make the switch as well. For some, like Taylor Hackford, it's simply a chance to actually get work done - after more than a year in court and meeting rooms handling his production responsibilities with Ray, Hackford addressed his need for hands-on involvement by directing the pilot of E-Ring. For others, working in television is a chance to remind Hollywood that they don't need $100 million to turn out a good product. Con Air director Simon West, for example, finds that studios are often hesitant to put low-budget films in his hands, because his made his name mostly with big money blockbusters. So when he spent "only" $4 million to put together the one hour pilot of Close to Home, West was not only adding to his resume, but also arming himself with convincing evidence that he could shoot a movie for just twice that amount.

In addition to resume building, work opportunities, and the chance, sometimes, to work with very good scripts and casts, TV also offers the potential for massive, on-going profits. By attaching himself to a successful series or franchise, a writer, director, or producer can make good money for a very long time. In other words, the giant pile of money in Jerry Bruckheimer's backyard is probably a very good ad for working in television.

[via Defamer]