Quotes of All Topics . Occasions . Authors
I don't set out to write female lead shows, necessarily. I like deeply flawed characters. When they come to me, or when I'm introduced to them, I follow the stories and the people, rather than setting out to do a female lead thing.
Hindsight is 20/20, but the moral of the writing for me is that when you're feeling very scared and nervous about something and you're fairly convinced that it could be a massive disaster, that's exactly the idea that you should do.
What's great is that I keep hearing from people who are discovering 'Friday Night Lights' because of streaming and Netflix and Hulu and all of these things. Somehow... things don't get old as fast as they used to. They stay vibrant.
You spend so much of your life crafting this stuff that you want to laugh in the room. I don't want to sit there and slit my wrists. And I think it reflects reality. People use humor to survive, even in the most horrific situations.
The thing that I've learned, not just from writing comics but also from writing television programs like 'Law & Order,' is that you can fool some of the people some of the time - but you can't fool all of the people all of the time.
The universe is big, its vast and complicated, and ridiculous. And sometimes, very rarely, impossible things just happen and we call them miracles. And that's the theory. Nine hundred years, never seen one yet, but this would do me.
There are producers, like the late Geoffrey Perkins, who have truly great ideas that will fire up your synapses and show you that handing in your first draft is not the end of a horrible process, but the beginning of a beautiful one.
We got ratings. It isn't that they won't quarrel with you, or say you're always right. But as long as you stay strong and the ratings are good and you're reasonable - I don't think we fought unreasonably. We basically won that right.
It's the open ocean right now because it's so unique. It's a really unique way of doing American television. There are a million possibilities. We can stay with the cops. We can introduce new worlds. And, who knows where it will end.
One of the best things about reading comic books, when you're a kid or an adult, is watching the characters cross-over. What happens in one book affects the other, and these shows are so tightly knit that it feels like one giant show.
A mountain has no need for people, but people do need mountains. We go to them for their beauty, for the exhilaration of standing closer to mysterious skies, for the feeling of triumph that comes from having labored to reach a summit.
When I sit down, I find that it's much easier for me to want to consume a movie than to dip back into 20 or 40 or 60 hours of a television series. I think a great movie is really amazing. But, television does give you a larger canvas.
I think what is magic about black-girl hair is, at its basic level, it's just resilient. It can go from straight to curly in the same day. It's just transformative. When you don't feel so strong, the hair can be a sign of empowerment.
It's like, if I had the luxury of choice, and didn't have to worry about making a living, I would definitely want to get into whatever field it was that allowed me to push further and further comedically. Because that's the joy of it.
I'm very fortunate in that all the mediums I work in are extremely collaborative. Movies are probably the most solitary on a day to day basis, but even then you have producers and studio executives to work with and bounce ideas off of.
I guess because the shows were activist in their own way - the marriage of my public activism and my career activism, you know - people understand me very well. They also understand there's a very strong bipartisan part in all of this.
My ex-boyfriend said, 'You have a better chance of getting elected to Congress than getting on the staff of a television show.' Which was the perfect thing for him to say, because my entire career is, 'Well, screw you.' And we broke up.
Try to imagine a character like Batman whose whole life has been about fighting crime, whose whole existence and identity is his war against criminals, and he wakes up one morning to discover there are no criminals. What happens to him?
The shows I've been working on, especially 'Parenthood' and 'Friday Night Lights,' I think are completely character-driven stories. I think, for most writers, that's a privilege to be telling those kinds of stories. It's erroneous to me.
My first job is to entertain, but if, while you're enjoying, you start to question something you never thought about before or empathize with, relate to, love someone you only thought of as 'other' once upon a time - how awesome is that.
I often attribute my screenwriting to journalism because they drill in the who, what, when, where and why - but we really need to land on that why. That's what I've been exploring in my writing for many years and trying to get better at.
Young Reinette: Monsieur, be careful! The Doctor: It's just a nightmare, Reinette, don't worry, everyone has nightmares. Even monsters under the bed have nightmares! Young Reinette: What do monsters have nightmares about? The Doctor: Me!
Peter Capaldi, will always be Doctor Who. You retain the title forever. Ask your predecessors, they all think they're the real one. I've had Sunday lunch with Peter Davidson and David Tennant and they're eyeing each other like, 'It's me!
You can use the fun of the genre, but I also really wanted to come at it from the point of view of some really complex characterization. There was a lot that I wanted it to do, and I wanted it to be fun. It's fun, but it's not simple fun.
In part, it's so difficult to come up with something original, to come up with a character nowadays. If you created a globetrotting adventurer, he'd be compared to Indiana Jones. If you created a super spy, he'd be compared to James Bond.
I think it is the hardest thing in the world. I'm endlessly intrigued by what human nature is capable of, both the horrible things we are capable of and also the heroic things. I'm really interested in exploring that side of human nature.
Besides Spiderman and Batman, 'The Flash' has, hands down, the best villains. You could do a TV show about The Rogues, and there's enough depth and interest and oddly honor amongst those characters that I think people will watch that show.
We did an episode on Good Times which came out of a newspaper article about the incidence of hypertension in black males being higher than whites, and increasing. So we did a show in which James, the father on Good Times, had hypertension.
It's so funny because a lot of times we'll have these discussions as writers, and you feel like you're having a discussion with your wife: 'I don't know. Are they ready to have another baby? Is it time? Well, she's not getting any younger.'
Every one of us, as human beings, even in a committed relationship, has moments and thoughts and actions that, whether or not they share them with their loved one, tells you, as much as anything, about them as people and their relationship.
There's no shape or body type that makes you more happy or more lovable. It's the body you're comfortable in that makes you happier and more lovable. I look around and see how women and men of all types find the love and the life they want.
As somebody who wanted to be creative, growing up, I remember always thinking that the thing I had going against me was Orange County because it seemed like all of the comedy was coming out of New York, and it still is, to a certain extent.
I feel confident that it will always keep everybody guessing, and yet not in that weird, maddening way where it's like, "Oh, come on, guys!" I think you will be freaked out by the end. I really do. I don't think you'll see it coming at all.
I think people look back on shows like "Firefly" or "Buffy," and they remember it with this glow about it of positive response, but if you look back... If Twitter had existed, there would have been a lot of negative tweeting about "Firefly."
But if I had my way, there would be so much more, in everything. It's so vital and integral in life, and it should be reflected in what we're watching, if we're reflecting our experiences. And it's hot. I love the sex stuff, and I want more.
There's little things like that, that we paid a lot of attention to. We don't always know how to bond together to get help or to do something, and our attempts are often awkward, selfish or weird. We talked a lot about how to open things up.
I believe that you have a boyfriend for certain times of your life, and I think the boyfriend who is your most beautiful first boyfriend is not the boyfriend that you're with in college, and your college boyfriend is not your first boyfriend!
I begged her to write a song and she said yes. I am a huge Regina Spektor fan. I think she's a genius and just a lovely soul, and I wanted her voice on it. And she agreed, which is just the coolest thing, ever. She knocked it out of the park.
You know, we certainly have a great budget on the show, but the expansions to world of the show really arise because, and this is kind of the idea of the premise of the show, where is each week you're kind of meeting . . . It's random access.
There are certain lovers and friends, no matter what fights they get into, you know they're going to get back together because there's something in their personalities that are drawn together - in love or hate or compassion or disappointment.
Television is a very writer-driven business, and it's one of the few parts of entertainment where writers are treated with respect, only because they need you. If they didn't have to treat you with respect, they would be happy to dismiss you.
Good twists are enormously hard to come by, and I think the best ones are earned ones. The idea that a story can take a left turn on you, it's easy to do, but it has to be done very, very carefully, or else you risk losing the audience's trust.
We have several projects in the pipeline, but one of the rules we set for ourselves is we don't want to solicit or announce any projects that aren't ready for publication. I'm personally really tired of reading about titles that never come out.
I wish I knew how we achieve the goal of world peace. My bumper sticker reads 'Just Another Version of You.' The sooner we agree that we're just other versions of each other - we human beings - the sooner we will find some sense of world peace.
So many heroes are driven by destiny. Superman, Wonder Woman, Green Lantern, they were all chosen and born to heroism. Even with Batman, it doesn't feel like Bruce could do anything else. His whole life was leading him to become the Dark Knight.
Sometimes we get frustrated ourselves and decide it's time to download a big chunk of mythology. And then the audience says, 'I find this confusing and alienating and too weird.' So then we pull back, and they say, 'You're not giving us enough'.
Where I thrive is with my hands on the keyboard or my pen on the paper. One of the things I get to do is I get to rewrite. I rewrite, and I work hard on my scripts. You can rewrite until you're 'perfect,' and that's something that's safe for me.
I can't live my life under the sort of "I cannot fail" philosophy, because then every time I do fail, which feels more inevitable than me being perfect all the time, it's going to be soul crushing. And more importantly, I'll never take any risks.
I remember when I was a kid my first real confrontation with space travel was when the Challenger exploded and I remember how traumatic that was for me, because I remember watching that on the news and all the children in our class were watching.
The great thing about writing is that you always put yourself in the shoes of the character. If you're doing it right, you can see into the heart of all your characters. Usually, when there's a writing problem, it's because you aren't doing that.