245 quotes found
"Take my love Take my land Take me where I cannot stand I don't care I'm still free You can't take the sky from me."
"Take me out To the black Tell them I ain't coming back Burn the land And boil the sea You can't take the sky from me."
"There's no place I can be Since I found Serenity But you can't take the sky from me."
"So I wanted to get a show that took the past and the future, and put them together by making them feel like the present…"
"And I wanted to say "Hi" to all the Firefly flans in— "flans"? I wanted to say "Hi" to all you Firefly flans out there. You flans are the best flans a… actor could ever hope for. Keep being a good flan!"
"So here's what I have to say about Serenity: This is the kind of movie that I have always intended Ender's Game to be (though the plots are not at all similar). And this is as good a movie as I always hoped Ender's Game would be. And I'll tell you this right now: If Ender's Game can't be this kind of movie, and this good a movie, then I want it never to be made. I'd rather just watch Serenity again."
"Nothing like a movie deal to make you feel better about your TV show getting cancelled!"
"People watch Firefly and they think, boy you guys must have a lot of fun there, you must have a great time, the high jinks that ensue. Well, the truth is, there are no high jinks, we're absolutely serious. We're very professional and we never, ever make mistakes. [fumbles with camera] How'dya turn this fuckin' thing off?"
"This show isn't about the people who made history; it's about the people history stepped on."
"Every story needs a monster. In the stories of the old west it was the Apaches. I used that example by saying that anyone who goes out into space and goes mad can become a monster."
"Tim Minear: She had this magic syringe. She would take this drug. And if she were, for instance, raped, the rapist would die a horrible death. The story was that she gets kidnapped by Reavers and when Mal finally got to the ship to save her from the Reavers, he gets on the Reaver ship and all the Reavers are dead. Which would suggest a kind of really bad assault. At the end of the episode, he comes in after she's been horribly brutalized, and he comes in and he gets down on his knee, and he takes her hand. And he treats her like a lady. And that's the kind of stuff that we wanted to do. It was very dark. And this was actually the first story that Joss pitched to me when he asked me to come work on the show. He said, 'These are the kind of stories we're going to do.'"
"Nathan Fillion — Malcolm "Mal" Reynolds"
"Morena Baccarin — Inara Serra"
"Adam Baldwin — Jayne Cobb"
"Ron Glass — Shepherd Derrial Book"
"Summer Glau — River Tam"
"Sean Maher — Dr. Simon Tam"
"Jewel Staite — Kaywinnit Lee "Kaylee" Frye"
"Gina Torres — Zoe Alleyne Washburne"
"Alan Tudyk — Hoban "Wash" Washburne"
"Ben Browder - Commander John Robert Crichton, Jr."
"Claudia Black - Officer Aeryn Sun"
"Anthony Simcoe - Ka D'Argo"
"Virginia Hey - Pa'u Zotoh Zhaan (seasons 1-3)"
"Jonathan Hardy - Dominar Rygel XVI (voice)"
"Gigi Edgley - Chiana"
"Lani Tupu - Pilot (voice), Captain Bialar Crais (seasons 1-3)"
"Wayne Pygram - Scorpius/"Harvey""
"Paul Goddard - Stark"
"Rebecca Riggs - Commandant Mele-On Grayza (seasons 3-4)"
"Tammy MacIntosh - Joolushko 'Jool' Tunai Fenta Hovalis (seasons 3-4)"
"Raelee Hill - Sikozu Svala Shanti Sugaysi Shanu (season 4)"
"Melissa Jaffer - Utu-Noranti Pralatong (seasons 3-4)"
"John Shea - Adam Kane"
"Victoria Pratt - Shalimar Fox"
"Forbes March - Jesse Kilmartin"
"Victor Webster - Brennan Mulwray"
"Lauren Lee Smith - Emma DeLauro"
"Karen Cliche - Lexa Pierce"
"Tom McCamus - Mason Eckhart"
"Andrew Gillies - Dr. Kenneth Harrison"
"Michael Easton - Gabriel Ashlocke"
"George Buza - Lexa's Dominion Contact"
"Vincent Ventresca — Darien Fawkes"
"Paul Ben-Victor — Bobby Hobbes"
"Shannon Kenny — The Keeper/Claire Keeply"
"Eddie Jones — The Official/Charles Bowden"
"Michael McCafferty — Albert Eberts"
"Brandy Ledford — Agent Alex Monroe"
"They had us on a schedule and decided to put on a different show which promptly tanked. We're sensitive to where they put us on in the week [Friday nights]. If they put us back where we were [Tuesdays], we would have been fine. Creatively, though, we had a great third season mapped out, but we won't see it now."
"Once we all got in a room in June we just started talking about ‘Who is Max? What would happen in her world?’ I had this notion that Max would go into heat and that became Heat. We had this idea about Max not getting her medicine and ending up in jail, and that became Flushed. C.R.E.A.M. came about because we thought, ‘If we really are positing this relationship between Max and Logan, who is Logan? What makes him tick? Wouldn’t it be cool for Max to get a look at his world?’ That’s really how things unfold."
"Quinn Mallory: [season one monologue/opening] What if you could find brand new worlds right here on Earth? Where anything is possible. Same planet, different dimension. I've found the gateway."
"Quinn Mallory: What if you could travel to parallel worlds? The same year, the same Earth, only different dimensions. A world where the Russians rule America... or where your dreams of being superstar came true... or where San Francisco was a maximum-security prison. My friends and I found the gateway. Now the problem is... finding a way back home."
"They took the attitude of ‘Oh, we don’t want to get into politics, we don’t want to get into dark humor, we don’t want to get into cerebral stuff. We’ve got four characters, and they’re sliding from world to world, and if they land on the world where everyone’s a pirate, they can chase each other around with swords, so that’s going to be fun. That’s show Number One.’ That was kind of the attitude all year"
"Originally, Ryan was going to be in several episodes at the start of the second season, and I worked out with Jacob Epstein, who was also executive producer that year, the path that Ryan would take. We had in mind three or four shows to do with him. By the fourth show, something shocking was going to happen with him."
"Their attitude was ‘We’ve been off the air for so long no one is going to care, so let’s just say that Quinn got shot but he’s better now, and let’s pretend the other people never came through the gate with them.’ I know people find this hard to believe, but I argued with them over this for months and got the reputation for being a troublemaker or a loose cannon, because I wouldn’t take ‘no’ for an answer."
"Cleavant Derricks - Rembrandt "Crying Man" Brown (all seasons)"
"Jerry O'Connell - Quinn Mallory (season 1-4)"
"Kari Wührer - Capt. Maggie Beckett (season 3-5)"
"Sabrina Lloyd - Wade Welles (season 1-3)"
"John Rhys-Davies - Prof. Maximillian Arturo (season 1-3)"
"Shiri Appleby - Liz Parker"
"Jason Behr - Max Evans"
"Katherine Heigl - Isabel Evans"
"Brendan Fehr - Michael Guerin"
"Majandra Delfino - Maria DeLuca"
"Colin Hanks - Alex Whitman"
"William Sadler - Sheriff Jim Valenti"
"Nick Wechsler - Kyle Valenti"
"Emilie de Ravin - Tess Harding"
"Adam Rodriguez - Jesse Ramirez"
"Enterprise, fatally, was not a popular series, even though it lasted four seasons. Just as it was winding down came a much more robust SF response to the post-9/11 world in the form of the rebooted Battlestar Galactica. Shedding the disco era look of the original series, this was a much grittier, murky series. The Cylons were not relentless robots, but genetically engineered and emotional humanoids with their own religion (monotheists vs the terran polytheists). The series addressed myriad topics raised by the Global War on Terror and the Iraq War: torture of suspected terrorists, profiling of terrorist-prone groups, curbs on democratic freedoms, enhanced executive powers for national security imperatives, and discrimination based on security fears. The season arc containing the Cylon occupation of the terran New Caprica colony was a parable of the Iraq War, involving common elements of Bush’s conflict: insurgency, foreign occupation/suppression, collaboration with occupiers, and even suicide bombers."
"Battlestar Galactica went beyond the usual space opera tropes and did what good science fiction has done for generations, from Jules Verne to Star Trek — it took the issues of the day into outer space, stripping them of the controversy of the moment, and allowing us to look at issues from a different perspective. Battlestar Galactica begins with a catastrophic attack on the human race, organized as the Twelve Colonies of Kobol by the Cylons, a robotic civilization spawned by humanity and beaten back years before. Just as many of today’s conflicts are the products of mistakes made long ago, so is Battlestar Galactica’s."
"Under pressure, people exhibit both the best and worst of the human condition. There is the extraordinary courage of the Viper pilots going out to fight the Cylons every 33 minutes for days on end as the fleet executes a fighting withdrawal, going on despite pain and casualties. But there is also the cowardice of Gaius Baltar, a prominent scientist who repeatedly betrays his fellow humans to please his hallucinated Cylon lover. The president of the Twelve Colonies, Laura Roslin, a paragon of principled leadership, is forced to repeatedly compromise her principles in order to safeguard the human race. She must constantly choose the lesser of two evils for the sake of survival. Much as with many real political leaders, her constituents do not appreciate the magnitude of the challenges she has led them through or the difficulty of the choices she faces daily."
"Military viewers will enjoy the series for the way it portrays fighting with futuristic technologies while maintaining a sense of authenticity in both the fighting and the atmospherics. The space battles are reminiscent of the great naval battles of the Pacific Theatre in World War II. The lives of the pilots and crew of Galactica are almost eerily like those aboard a modern amphibious ship."
"It's hardly fortunate that producers David Eick and Ron Moore found themselves developing the remake in the wake of September 11, but the story's broad premise - the human (read: American) military's struggles in the wake of a massive terrorist attack - suddenly gained resonance. In making the humans look, talk, shag, smoke and govern themselves so closely to how we do ourselves the show went way beyond sci-fi. Placing the action in space removed it sufficiently enough to hold a mirror to the one part of society that's normally off-limits: the way we fight right now. Giving the murderous Cylons human form - anybody could be one and probably is - meant the show could plough a chilling allegory on civil liberties crackdowns and western paranoia about sleeper cells. Painting them as religious fundamentalists who justified the genocide as a means of carrying out God's will in the face of human corruption forged a fierce parable on the war on terror that good taste would never allow so called "proper" drama to go near. "Our antagonists are not villainous necessarily," says Eick. "Yes they're out to kill us, but they've got an awfully sympathetic point of view in many respects. They're much more like the audience in terms of their being monotheistic. They're not moustache-twiddling villains and that's a strength of the show.""
"The opening episodes to this season are as much a story rooted in political tales like the Vichy France or Vietnam," says Eick. "There are a lot of different sort of reference points for us that aren't necessarily current that inform our culture in profound ways. Battles from the second world war have been used for several of our more actiony episodes. I've always said from the beginning, it's a war show - that was always our initial touchstone. We watched the movie Black Hawk Down as a reference more than any science fiction film. Though I have to say between Black Hawk Down, Alien and Blade Runner, we should probably be cutting Ridley Scott a cheque after every episode."
"A useful way to think about this is to take any piece of equipment and strip out its ability to talk to another piece of equipment. If your cell phone did not have access to a computer network, how efficiently could it operate? Could it operate at all? How do you design a navigational system for a spacecraft if the various components cannot be networked together? How do you design a fighter that relies more on human brainpower to identify threats and make decisions than anything built into the cockpit? One of the most important concepts is that there is no "master computer" aboard Galactica or any other Colonial ship. In fact, our computers are very dumb in comparison to even the PC sitting on the average writer's desk. We should always endeavor to find ways of forcing human beings to do the hard work involved with operating and maintaining a spacecraft. Human brains need to crunch numbers, organize data, and come up with solutions to complex problems."
"As a general rule of thumb, we should encounter an actual Cylon raid every third episode and in between encounters our people should constantly be studying and testing new ways of fighting their implacable enemy. It's important to note that while the Cylons were virtually invincible in the pilot, that there will be a more level playing field as the series goes on. This will be a result of the natural tendency in warfare for both sides to learn from their enemy, and develop new counter-measures for their opponents' strengths. As a general rule, Galactica's fighters are generally outmatched in combat with the Cylons, but the more we fight them, the more we learn, so that this week we have a temporary advantage and next week it's gone again. The on-going struggle will force both sides to constantly improve their technology and tactics to keep pace with their enemy."
"A new gate will open. A lost city will rise again."
"For I dipt into the future, far as human eye could see; Saw the Vision of the World, and all the wonder that would be... -Alfred Tennyson"
"Kate Mulgrew – Captain Kathryn Janeway"
"Robert Beltran – Commander Chakotay"
"Tim Russ – Tuvok"
"Roxann Dawson – Lieutenant B'Elanna Torres"
"Robert Duncan McNeill – Tom Paris"
"Garrett Wang – Ensign Harry Kim"
"Robert Picardo – The Doctor"
"Ethan Phillips – Neelix"
"Jeri Ryan – Seven of Nine [Seasons 4–7]"
"Jennifer Lien – Kes [Seasons 1–3]"
"Beltran: Chakotay was kind of a solitary character, at least from season four to seven. I think the first three seasons there were a lot of interesting storylines, and then I think a shift happened in the series after Jerri Taylor left. I think any time that a character has an interpersonal relationship that shows growth, and you could say that clearly about Chakotay and the captain. But after Seska left, it was only that relationship with the captain that had depth to it. Chakotay and Tuvok didn’t have much. Chakotay and Paris didn’t have much. Chakotay and the other characters, there wasn’t much of a relationship there. I always regretted that because there was a lot to explore."
"Interviewer: You were always honest and open at the time about your displeasure with how Chakotay was utilized on the show. When you raised your concerns, did the powers that be listen?"
"Interviewer: If somehow the Star Trek writers were to tap out one more Janeway story, with an assist from you, what story would you want to see told? Would you want her back on a ship and in command? Maybe you’d like to see her now that she’s been home for a while…"
"Things were dictated by the times, by it being post-9/11, but I wanted us to hopefully get back to having a little bit more fun on the show and to get out of that whole Xindi thing. That would have been fun. I think we were pointing in that direction. I think the group was ready to go. The cast was ready to get there, and I think we could have had a blast. But we just didn’t get to go there. And I wanted Archer to kind of grow up and lighten up a little bit."
"Q: The prequel concept sounded so promising, but fans never embraced Enterprise the way they had the other shows. Assuming you agree with that statement, why didn’t Trek fans connect with Enterprise to the same degree they had the previous series?"
"TrekCore: What were the things on Enterprise that you really wanted to do in the fifth season? The biggest tragedy is when it got cut short. Where were you going to take it?"
"It (the romance with Tucker) was so monotonous. There were a lot of feelings, but nothing ever happened. We repeated the same story over and over. Either make it a relationship or don't, but you can't walk this line forever. It's boring."
"I had assumptions, and we all know what happens when we assume. I assumed that the ending would be about our show and not a wrap-up of the conglomerate."
"We started out with 13 million viewers on the pilot, and we somehow managed to drive 11 million of them away."
"Star Trek: Enterprise was the first Trek series to appear after 9/11, and reflected these new realities. The prequel series crew stumbled as they confronted all manner of unfamiliar civilizations, and did not even get along with the Vulcans very well. Then, in season three a 9/11-style attack on Earth forced Starfleet to launch an expedition to go after the shadowy Xindi, who had launched the strike. Making the Xindi potentially scary was the consortium nature of their alliance, including humanoid, arboreal, insectoid and aquatic species. Just as al Qaeda was an international terrorist consortium, the Xindi was more dangerous together than separately — a fact the Enterprise crew use to pry away some of the species from the organization."
"There was a flood of letters from every corner of the world advocating for this Excelsior series and then Paramount suddenly decided they didn’t want fan advice or participation and went ahead and did what they wanted to anyway with Enterprise which was a disastrous failure."
"Well, Enterprise too was literally going in the wrong direction. Gene was always forward looking and in terms of drama he wanted the shock of the new: new life, new civilizations. When you go backward people start nitpicking at the cannon and the technology."
"My mom told me once that when you're afraid of something, what you want more than anything else is to make it go away. You want your life back to the way it was before you found out that there was something to be afraid of. You want to build a high wall and live your old life behind it. But nothing ever stays the same. That's not your old life at all. That's your new life with a wall around it. Your choice is not about going back to the way things were. Your choice is about hiding, or about going right to the heart of the thing that scares you."
"Sometimes the best way to move into the unknown is to take familiar steps, small steps. To do ordinary things to deal with something that is in no way ordinary. We're always going someplace new, all the time. Familiar things just let us pretend that we aren't moving into unfamiliar territory. You take those small familiar steps, and you try to be honest, not to live as if nothing had changed but still to go on with your life. But there are times when what you need is a piece of how things used to be."
"When you're little, you like to think you know everything, but the last thing you really want is to know too much. What you really want is for grown-ups to make the world a safe place where dreams can come true and promises are never broken. And when you're little, it doesn't seem like a lot to ask."
"I didn't ask for any of this. I want to be a little girl. I just want to be a little girl."
"Everyone knows not to stare into the sun; it's something your mother tells you when you're a kid. "Don't look at the sun or you'll go blind." But sometimes you want to understand something so badly that you'll risk going blind for just a glimpse of what it might all be about."
"Even when we know we'll never find the answers, we have to keep on asking questions."
"My grandfather used to tell my mom that kids should never have to worry about anything more serious than baseball. Everything you need to know is there. It has success and failure, moments when you come together and moments where you stand alone. And it has an ending. Not a clock, like in other sports, but an ending. And that, my grandfather said to my mom, is as close as a kid should have to come to that sort of thing."
"People talk a lot as if the most important thing in life is to always see things for what they really are. But everything we do, every plan we make, is kind of a lie. We're closing our eyes and pretending that the day won't ever come when we won't need to make any more plans. Hope is the biggest lie there is, and it is the best. We have to keep going as if it all mattered, or else we wouldn't keep going at all."
"People say that when we grow up, we kick at everything we've been told, we rebel against the world our parents worked so hard to bring us into, that part of growing of is kicking at the ties that bind. But I don't think that's why we kick at all. I think we kick when we find out that our parents don't know much more about the world than we do. They don't have all the answers. We rebel when we find out that they've been lying to us all along, that there isn't any Santa Claus at all."
"Is every moment of our lives built into us before we're born? If it is, does that make us less responsible for the things we do? Or is the responsibility built in too? After you hit the ball, do you stand and wait to see if it goes out, or do you start running and let nature take its course?"
"The hardest thing you'll ever learn is how to say goodbye."
"What makes a man who he is? Is it the worst things he's ever done, or the best things he wants to be? When you find yourself in the middle of your life and you're nowhere near of where you were going, how do you find the way from the person you've become to the one you know you could have been?"
"When everything in your life is right on track, it's easy to believe that things happen for a reason; it's easy to have faith. But when things start to go wrong then it's very hard to hold on to that faith. It's hard not to wonder whose reasons these things happen for."
"My mother always talked to me a lot about the sky. She liked to watch the clouds in the day, and the stars at night... especially the stars. We would play a game sometimes, a game called, what's beyond the sky. We would imagine darkness, or a blinding light, or something else that we didn't know how to name. But of course, that was just a game. There's nothing beyond the sky. The sky just is, and it goes on and on, and we'll play all of our games beneath it."
"Most people change kind of slowly. They're who they are and then after a while, they're someone else. But some people know the exact moment where their lives changed. They saw the person they were going to marry or the look in their baby's eyes the first time he smiled. For some people, it's not the good things in life that made them change. It's something they've gone through that makes everything they look at from that moment on seem very different from how it had always been."
"People are lonely in this world for lots of different reasons. Some people have something in their disposition. Maybe they were just born too mean, or maybe they were born too tender. But most people are brought to where they are by circumstance, by calamity or a broken heart or something else happening in their lives that wasn't anything they planned on. People are lonely in this world for lots of different reasons. The one thing that I do know is, it doesn't matter what any one of them might tell you--nobody wants to be alone."
"Some people have given up all hope of anything in their lives every changing. They just go on with it day by day, and if something were to come along and make things different they probably wouldn't even notice it right off, except for that kind of nervous feeling you get in your stomach. My mom and I used to call that "the car trip feeling," because it was how I'd feel whenever I knew we were going to go somewhere far away or somewhere new."
"When you're a kid, all you ever want is for the stories your mom reads you to be true. You think you can crawl inside the world that's in every book and live in the pictures on every page, but deep down you know that this isn't something that could ever happen. And it's knowing that the magic isn't quite there, that it's just over the next hill or maybe in the next story, that makes you feel safe in your bed at night. You really wouldn't want it to be any other way."
"There are times when it seems like the whole world is afraid...when the fear is something you have to live with day in day out. When people get scared, they do a lot of different things. They fight, or they run, they destroy the thing they're afraid of, or they put a lot of distance between it and them...make it something you can shoot at with a friction-action gun."
"Why do people want so desperately not to be alone? Why is it more comforting to think you are being watched than to know that no one at all is watching? And why, really, does that make us any less alone? In the end, if there are others out there, then wouldn't we be, all of us, still alone together?"
"People believe what they want to believe. They find meaning where they can, and they cling to it. In the end, it really doesn't matter what's a trick and what's true. What matters is that people believe."
"People like to examine the things that frighten them, to look at them and give them names, so saints look for God, and scientists look for evidence. They're both just trying to take away the mystery, to take away the fear."
"We all like to think that we have some control over the events in our lives, and a lot of the time we can fool ourselves into thinking that we really are in charge. But then something happens to remind us that the world runs by its own rules and not ours and that we're just along for the ride."
"You know in cartoons, the way someone can run off a cliff and they're fine, they don't fall until they look down? My mom always said that was the secret of life. Never look down. But it's more than that. It's not just about not looking. It's about not ever realizing that you're in the middle of the air and you don't know how to fly."
"The world is made up of the big things that happen and the small ones. And the part that's so unfair is that we call them "big" and "small", because when something happens to you, when you lose something or someone that you really care about, that's all there is. The world may be blowing up around you, but you don't care about that. You don't care about that at all."
"I have this idea about why people do the terrible things they do. Same reason little kids push each other on the schoolyard. If you're the one doing the pushing, then you're not going to be the one who gets pushed. If you're the monster, then nothing will be waiting in the shadows to jump out at you. It's pretty simple, really. People do the terrible things they do because they're scared."
"We're all standing on the edge of a cliff, all the time, every day, a cliff we're all going over. Our choice isn't about that. Our choice is about whether we want to go kicking and screaming or whether we might want to open our eyes and our hearts to what happens once we start to fall.""
"If a dream is just a dream, something that happens in your mind while you're asleep, then that's alright. It's yours to take with you into the morning, and it fades away there in the light. But when the dreams start to come while you're awake, and they come with the light, then that is not all right. What we look for then is other people who have dreamed what we've dreamed, who have seen what we've seen. When the dreams become real, sometimes the only comfort you can find is in knowing that you're not alone."
"I think when you're older, what gets hard is that you forget how to take things as they come. And sometimes, the things that do come are more than anyone should have to take."
"People come home for a lot of reasons. They come home to remember. They come home because they’ve got nowhere else to go. They come home when they’re beaten. They come home when they’re proud. They come home looking for a door out into their past or a road out into their future. They come home for a lot of reasons, but they always come home to say goodbye."
"Some people put a lot of work into their lawn, as if a patch of green grass was the most important thing in the world. As if they thought that as long as the lawn out front was green and mowed and beautiful, it wouldn't matter at all what was going on inside of the house."
"Do you know the feeling of daring yourself to walk across a dark room? That way you're excited, because you know, you really do know that there's nothing there to hurt you. Some people get to chose their dark rooms. They get to look for places where the fear is only skin deep, but some people are nowhere near that lucky."
"People move through their lives sometimes without really thinking about where they're going. Days pile up, and they get sadder and lonelier without really knowing why they're so sad or how they got so lonely. Then something happens. They meet someone who looks a certain way or has something in their smile. Maybe that's all that falling in love is; finding someone who makes you feel a little less alone."
"Sometimes people come to a moment where they think they've found that one last chance to be someone else. And they go for it. When it doesn't work out, they spend the rest of their lives looking back over their shoulder at what might've been."
"How do you let someone go? How do you understand that's alright, that everything changes? How do you find a way for that to make you feel good about life, instead of breaking your heart? The hardest thing you'll ever learn is how to say goodbye."
"I think people get mean when they're scared."
"I don’t know what will happen next. I don’t know what I’m going to be, what I’m going to learn. But what I do know is this: Life, all life, is about asking questions not about knowing answers. It is wanting to see what’s over the next hill that keeps us all going. We have to keep asking questions, wanting to understand. Even though we know we’ll never find the answers, we have to keep on asking the questions."
"I don't watch daytime TV. It weirds me out."
"What's a five-letter word for idiot?"
"[Mary is using her laptop, when a video file of Chet appears] Hiya, Tootz. I programmed this video file to send itself in twenty-four hours if I didn't delete it. I didn't delete it, so I guess you must've deleted me... Yeah, I sorta saw that one coming."
"[to Allie Keys] Little girl, I love the way your mind works."
"[to Mary, after his death] There's something I wanted to share with you. We're all so desperate for meaning, aren't we? All of us. You too, Mary, even if you think you're not. You want answers, and in that way, I think the aliens are gonna disappoint you. Here's the stone truth of it: They're still asking the same questions we are. No one is God here. We're all in the same boat."
"No. You're not going to take me."
"[to Chet Wakeman] When this is over, I'd like a moment to knock you on your ass."
"Could they put it back, this thing that had been bred out of them for eons and eons?"
"You're the sun and the moon to me. The sun and the moon."
"I love you. Everyday and twice on Sundays."
"[Col Crawford's two closest men talks about their boss] I've said this before Marty, but that is one nasty bastard."
"Save the Cheerleader. Save the World."
"Are you on the list?"
"They thought they were like everyone else... until they woke with incredible powers."
"Ordinary people discovering extraordinary abilities."
"Some people are born to be extraordinary."
"No one is safe."
"Someone flies... someone dies."
"How do you stop an exploding man?"
"It's not their abilities that make them Heroes. It's their choices."
"Darkness is coming... Expect casualties."
"Good will battle Evil."
"You can't choose your family. You can choose a side."
"In every hero there could be a villain."
"They will be hunted. They will be captured. They will need each other."
"As Evil grows stronger, a family unites."
"One of Us, One of Them"
"Rappler: Since the evos are being hunted in Heroes Reborn, is the show going to have similarities to how Mutants are hunted down in the X-Men movies?"
"Debuting in the fall of 2006, “Heroes” was something fans had never seen before: an original TV series centered around everyday people discovering fantastical abilities. We met characters like Claire Bennet (Hayden Panetierre), the regenerating cheerleader; Peter Petrelli (Milo Ventimiglia), the power-absorbing man; Hiro Nakamura (Masi Oka), the time-traveling pencil-pusher; and Matt Parkman (Greg Grunberg), the telepathic cop. These seemingly disparate people were discovering their powers and fearing what they might do to the world around them. On top of this strong sense of character development, the pilot almost instantly introduced the stakes in the form of Sylar (Zachary Quinto), the power-hungry villain with a scalping streak; a foreboding premonition of a nuclear explosion, the source of which was left to be discovered; and a visit from future Hiro, who bestows a mission onto his past self: “Save the cheerleader, save the world.”"
"2006 was a very different time for television. For one thing, there had never been a compelling superhero series realized on the small screen. But then came NBC’s Heroes, which filled a huge void on network TV with its sprawling ensemble, its story about superpowered people around the country, and its dense mythology. At the time, the show felt genuinely revolutionary, even if it was borrowing its storytelling tropes from the greatest hits of comic books."
"When the first (Emmy-nominated) season of Heroes debuted in 2006, its use of time travel and other tricky narrative structures was pretty cutting edge for a network show. (Usually studios insisted that each week’s episode be fairly accessible to new viewers.) Now, shows like the CW’s Arrow and The Flash deploy those kinds of storytelling tricks every week and have whole universes of interconnected spinoffs built around them."
"This was a problem with the original Heroes, too—the creator Tim Kring got so invested in his individual characters that he forgot to unite them into a team. You might recall the show’s first season motto, “Save the cheerleader, save the world,” but you’d probably be hard-pressed to remember just how the plot eventually played out. Kring would set a hundred threads in motion but then struggle to knot them all together, and considering the amount of time Heroes Reborn spends on introducing new characters, it’s fair to worry that his latest effort will struggle in the same way."
"Michelle Ryan"
"Miguel Ferrer"
"Molly Price"
"Lucy Kate Hale"
"Will Yun Lee"
"Chris Bowers"
"Mark Sheppard"
"The Mother Of All DESTINY"
"Take back the future."
"Everything he is, everything he will be, depends on her."
"[Season 1] This season, a mother will become a warrior, a son will become a hero, and their only ally will be a friend from the future."
"[Season 2] This season, allies become enemies, a boy becomes a man, and the terminator saga is reborn."
"Lena Headey - Sarah Connor"
"Thomas Dekker - John Connor"
"Summer Glau - Cameron"
"Brian Austin Green - Derek Reese"
"Richard T. Jones - James Ellison"
"Garret Dillahunt - Cromartie"
"Shirley Manson - Catherine Weaver"
"Time changes everything"
"I loved my time on Fringe, but the truth is that was originally a story about a female protagonist… and the show turned into a story about father and son [played by John Noble and Joshua Jackson]. Very often in this business, that’s what tends to happen… A lot of the time, those boy shows, it’s not that there’s anything against women, they just don’t know how to write women, so they go right back to [the trope of Steven] Spielberg, father-son — and there are mothers and sons, and mothers and daughters."
"Anna Torv - Special Agent Olivia Dunham"
"Joshua Jackson - Peter Bishop"
"John Noble - Dr. Walter Bishop"
"Lance Reddick - Special Agent Phillip Broyles"
"Jasika Nicole - Special Agent Astrid Farnsworth"
"Kirk Acevedo - Special Agent Charlie Francis"
"Blair Brown - Nina Sharp"
"Mark Valley - John Scott"
"Leonard Nimoy - Dr. William Bell"
"Fox forgot to cancel my show... Very awkward. They looked and said, 'Oh, this is our bad. We forgot to cancel your show. You're going to have to make more.'"
"And they wanted a show, a first episode that absolutely laid out the structure of the show, which is - Echo is at the Dollhouse, she is imprinted for an engagement, she goes on the engagement, she comes back from the engagement into the Dollhouse. This is how it works."
"Well, you know, there was sort of this celebration of human perversion. It was kind of part of it because ultimately some of their engagements are sexual in nature. That's been very much downplayed because it makes some people uncomfortable. My mandate was to make some people uncomfortable - unfortunately some of those people run the network."
"I always hold to the premise that the first six episodes are the first six pilots."
"Eliza Dushku - Echo/Caroline Farrell"
"Harry J. Lennix - Boyd Langton"
"Olivia Williams - Adelle DeWitt"
"Fran Kranz - Topher Brink"
"Tahmoh Penikett - Paul Ballard"
"Enver Gjokaj - Victor/Anthony Ceccoli"
"Dichen Lachman - Sierra/Priya Tsetsang"
"Amy Acker - Dr. Claire Saunders/Whiskey"
"Alan Tudyk - Carl William Craft/Stephen Kepler/Alpha"
"Miracle Laurie - Mellie/November/Madeline Costley"
"Reed Diamond - Laurence Dominic"
"Liza Lapira - Ivy"
"Ashley Scott – Helena Kyle / Huntress"
"Dina Meyer – Barbara Gordon / Oracle"
"Rachel Skarstein – Dinah Lance / Black Canary"
"Mia Sara – Dr. Harleen Quinzel / Harley Quinn"
"Ian Ambercrombie – Alfred Pennyworth"
"Shemar Moore – Detective Jesse Reese"
"Shawn Christian – Wade Brixton"
"Pete, in "Regrets""
"Pete, in "Breakdown""
"Pete, in "Age Before Beauty""
"Pete, in "Around the Bend""
"Pete, in "For the Team""
"Pete, in Myka's body, in "Merge with Caution""
"Elizabeth Mitchell - Erica Evans"
"Morris Chestnut - Ryan Nichols"
"Joel Gretsch - Father Jack Landry"
"Logan Huffman - Tyler Evans"
"Laura Vandervoort - Lisa"
"Morena Baccarin - Anna"
"Scott Wolf - Chad Decker"
"Christopher Shyer - Marcus"
"Charles Mesure - Kyle Hobbes"
"Mark Hildreth - Joshua"
"Roark Critchlow - A.D. Paul Kendrick"
"Scott Hylands - Father Travis"
"Jane Badler - Diana"
"Tomorrow, loved ones will return as clones. Memories will be downloaded and sold. Androids will walk among us. Tomorrow is now."