Television Producers

"There's the hospital sequence in The Day After and there's the hospital sequence in Threads. [...] In The Day After people are being wheeled in on gurneys and everybody's stressed, but they're coping with it as they would do on ER or something like that. In Threads, the floor is covered with muck and shit and blood and people don't have anything they can work with. [...] We see people having their legs amputated without an anesthetic, just something stuck between their teeth for them to bite on. That's what it's going to be like! And I wanted every part of this movie to be "That's what it's going to be like"."

"I wanted him to use all his experience and intuition and empathy with people who'd grown up around him in Sheffield and put that into the movie, and I would be [...] the alien force, who was the voice of what science can do, and I would kind of foist these horrible indignities and horrors on these people, and he would try and get them to behave the way they would. So there was an innate conflict in that. We had many shouting matches, really passionate things, totally necessary for doing this."

"People tell me how relevant they find the movie to what’s happening now. It’s comforting, at a time when so many films are being remade, to find that people still appreciate – and are scared by – the original film."

"He hated coming on the set and despised me because I wore white shoes."

"I can't tell you how much that affected me, in the wrong way. I was, in 1983 when it came out, I was planning Threads, I was in pre-production. And I thought "Oh my God, they will tell it. [...] I hope to God they tell it well. If they tell it well, I'm going to stop what I'm doing". [...] I didn't want it to become something that everybody did. I wanted it to be one thing that was done once and done well, and done with no punches pulled at all. I wanted something you could hardly bear to look at and you can hardly bear to look away from , so something that was totally uncompromising: You didn't look away, you didn't flinch from things. So, I waited for The Day After to come out, [...] I looked at it and I thought "Oh my God, they didn't, they missed it". They missed it! They made a TV movie, they made something like a soap opera because they had to, because they didn't have a genre in their head that they could copy and or invent. And I thought the underlying thought of this is it would all be manageable. At the end of the movie, where everything is ruined, you've got Jason Robards still there and you know that just out of the frame, about to come in, there's all the bulldosers and relief efforts, rescue and help, and it's going to be okay really. And I thought "That's not telling the truth, that's not really the way it would be.""

"He did hate doing it. It was alien to his nature. He reluctantly let himself be drawn into this thing, thinking what he would have done would have been a very passionate politicised scream of emotion, and what he was being pushed into was this box he didn't feel at all comfortable in."

"The real effect of a nuclear weapon is not what it does to things, to buildings, to cities: it's what it does to society, what it does to people, what it does psychologically. I was very struck by the work that an American writer called Robert Jay Lifton had done on the psychological effects of the bombings of Nagasaki and Hiroshima on the survivors and I talked to him a lot. It seemed to me that the story that needed to be told was the story of what this does to society as well as what it does to physical things, and you could only really tell that with a drama, with people that you identified with."

"We're not in the 1980s anymore to remember how terrified everybody was, how paranoid everybody was about the end of the world being nigh. In the year that I had prepped this movie in 1983, the Korean airliner was shot down by the Russians, Reagan gave his "Evil Empire" speech, Strategic Defense Initiative, "Star Wars" started and people like Herman Kahn in the RAND Corporation in Santa Monica [...] were talking about "winnable" nuclear war and game theory, and I just thought "people who talk like that, and people who behave like that, politically, and make speeches like that, they're doing that because they have no real sense, no physical sense of what a nuclear war would be like.""

"I remember a scientist who worked on the Manhattan Project said to me "you know, when I hear people talking about winnable nuclear wars, I just wish I could take them to the Mojave desert, the Nevada desert, wherever, strip them down to their underwear, and let them watch an actual nuclear explosion from miles away, feel the blistering heat pulse on their skin, and feel the blast wave sweep over them and shake their heart and their lungs around inside their rib cage. Then they would have a sense of what it was they were talking about and they wouldn't talk about a winnable nuclear war.""

"In this movie, from the outset, I wanted to put it in the scale of people that you might know, people like yourself, your immediate family, relations and so on, and no bigger than that, and not really to show anything except how it would happen to them. So, there's no God's eye view in this movie. You don't actually get to look down and get the overall picture and see maps of Europe and maps of the world and so on. You just get what's happening to these people, and it's all really done from ground level. There's no cinematic crane shots or anything like that. It's just very, very documentary."

"Listen, Otto Von Crybaby, if you're so anxious to go to a country with an unpredictable megalomaniac in charge, just wait a year and you'll live in one!"

"The only national emergency is that our President is an incompetent racist."

"He is Shiro’s significant other, They weren’t married yet, but that’s the road they were going down Him being gay was just something that we had always wanted to do with him from early on."

"It was something that came up right from the get-go, but as you know, from the beginning we kind of thought we were going to kill Shiro at one point. And so we’re like, ‘Y’know what? We don’t really want to kill off our gay representation. Maybe we’ll find it somewhere else.’ But then we found out pretty soon after that, Shiro wasn’t allowed to die. Well, all right, we go back to plan one and yeah, it just took us a little while to get to the point in the story where we were able to reveal it. But he was kind of always in the works to be our [gay] representation. It’s a very normal part of his life and it’s just a very normal part of our story. It wasn’t supposed to be, like, scandalous or surprising or-- It’s just daily life. And I think we kind of try to envision a world where all of those things are just normal and accepted and people don’t freak out about them. It doesn’t change who he is at all."

"I think the important thing is maybe allow the fans to see what they want to see. We don't want to put anyone into a corner where it's like—So other people feel like they're not represented."

"It was exciting. The idea of having this character, who had been so much to so many people. And none of that was based on his sexual orientation, And just to reveal that he is a gay man, and that in no way changes his relationships with any of these people, anything that he’s done. Sometimes it’s amazing to have the stories where the character is finding themselves, but then it’s also incredibly important to have the stories where this character is fully formed, and he’s a gay man, and he’s doing amazing things. And he’s flawed, and he has his own problems. That was why I loved the idea of having Shiro be our representation."

"I’ve always said that I believe deeply in creative conflict, and that means passionately arguing–whatever your thoughts are, whatever the point is. Some people love that and it helps them grow, learn, etc. Some people run for the hills. I’ve always said to people, “Look, it’s not a room for everybody. If you like this environment, great. If you don’t, please leave, because it’s not good for any of us.”"

"What I've learned over the years is that focus and singular purpose is the best approach for businesses."

"God knows, I’m hardly a sociologist. But I hope in the future for some form of reconciliation. Because I think all men are guilty. I’m not talking about rape and pillage. I’m not talking about Harveyesque. I’m talking about all of the spectrum. From an aggressive flirt. Or even just a flirty-flirt that has one sour note in it. Or what I think every man was guilty of, some form of omission in attitude, in his views. Are we really going to have only capital punishment? Because right now, that’s what we have. You get accused, you’re obliterated. Charlie Rose ceases to exist."

"Even the most enlightened boys can turn into ghosts."

"Having the chance to watch … ', it was probably one of the first punches. Once I made that connection between loving an animal and eating an animal is when things clicked in my brain. Latinos have this obsession with everything fried, with a lot of animal protein, and, yeah, it’s true—we have a lot of problems with obesity, we have a lot of problems with diabetes, we have a lot of problems with asthma. We have a lot of problems with a lot of things that come from it. And I couldn't believe that to create a toothpaste, or to create a shampoo, there are a lot of animals that have to suffer for that. As you become a vegan, you start learning that everything in your life has to become cruelty free."

"You could say that I am desperate — because I am. In a world that both desexualizes and hypersexualizes transfeminine people and treats us like street garbage, I am desperate to find companionship and touch."

"One might even call him dreamy. It was a match made in heaven. Or it could’ve been, until he ghosted me."

"It’s not like my standards are that high to begin with. As someone who has spent the greater part of a decade being sexually neglected because I don’t perform gender properly, my standards are comically low. You don’t have to be talented to get in my pants. You don’t have to be charming or funny or witty or able to make great conversation to make me fall for you. You don’t have to have a well-furnished apartment or a beautiful house in order to take me home. Just tell me that you don’t believe in the , let me know that you want to put it in, and I am pretty much yours."

"In a world that both desexualizes and hypersexualizes people, I am desperate to find companionship and touch."

"I wish I had the answer to that, because if I knew how to create an instantly popular character like that, I would do more of them. It’s weird to me because, on one hand, she’s appealing, but you look at her and she’s not exactly a good role model for girls. And in the past, we have definitely explored some of the darker edges of her story. She was kind of in an on-going abusive relationship with the Joker. So it is weird but maybe a lot of her appeal, at least recently, is because they have separated her from the Joker in comics. She’s become her own standalone character and definitely not in an abusive relationship with the Joker anymore. I guess that is somewhat empowering and people can relate to it. But truthfully, she was a really, really popular character even before all this. I think part of it is probably, to pat my own back, design. She was a really simple basic character in red and black, cute face, cute figure, one and done. So that definitely has to be a part of it."

"I love all the series I’ve done pretty much equally.I haven’t done a single series that I have been embarrassed by. Some of the movies are better than others."

"The more I examined my emotions, the more I was able to put that in my writing. I wanted to concentrate more on human emotions and internal feelings in the characters, inasmuch as I could in an animated cartoon show—ostensibly one for a young audience. There were times when I felt I couldn’t put the depth of feeling that I wanted to in the cartoons at that time, because it’s for kids and you have to keep it kind of upbeat. But I did it where I could. And I put it in my other work as well, when I was writing things like comics and screenplays."

"My first exposure to Batman as a character was Batman the TV series. But honestly, I didn’t know it was supposed to be a parody or campy. I thought it was the coolest thing I’d ever seen. Of course, I was 5 at the time. But all in one fell swoop, I became an instant super hero fan. Later on, as I got older and started reading more comics and getting into the super hero scene, I realized that the Batman show was kind of a comedy. I was reading Neal Adams comics and thinking, "Batman is kind of cooler than that show, he’s kind of scary and mysterious." So my perception of Batman changed over time, and then I went through the periods with Frank Miller and the Tim Burton movies. So now I’ve got these warring Batmans in my head. I still love the Adam West/Batman show. I still love the Neal Adams take on Batman comics. I still love The Dark Knight. All of these things totally contradict each other, and yet it’s fine to me. I’ve said it over and over again, Batman as a character is such a strong concept, he’s the kind of character that you can take him in any number of ways and it still feels right."

"We came up with the idea of people who are attracted to criminals, especially those who might write to a criminal in jail saying, “I understand you, I sympathize with what you’re going through,” and they just sort of pin all their hopes and dreams on somebody who they think is misunderstood but who is in fact rather dangerous. The fact that Harley might have gone from this intelligent, cool therapist to this crazed clown woman was both very interesting and very tragic to us. We thought that had the makings of a great Batman villain — like Batman himself, his villains start off human but then some tragedy happens and warps them into what they are today."

"Nobody has ever said the negotiation would be straightforward and simple."

"[A new runway at Heathrow is needed to secure] a clear path to our future as a global nation in the post-Brexit world."

"Finally we have a confirmed use for Chris Grayling. He is the government's secret weapon to make even the most incompetent and second-rate of ministers feel good about themselves. Not content with having wasted the best part of £14m on the government's first-ever roll-on, roll-off pizza delivery service – all toppings guaranteed to be ferry free, the transport secretary has now spent more than £50K on failing to organise a lorry jam in Kent."

"It's not us that loses financially if we don't have a free trade agreement, it's Germany and France and other European countries, and that's why of course there will be a free trade agreement that allows all our business to trade freely to and from continental Europe. It will take a relatively short period time in my view because they lose financially."

"Did anyone honestly think we were going to walk into a room with the European Union, shake hands, and do a deal in half an hour? These are going to be lengthy negotiations, they're going to challenging negotiations."

"Ben Carson: for people who like Donald Trump's ideas, but hate his charm and charisma. Ben Carson is like the drug free cocaine for people who don't wanna get high but just like snorting white powder."

"Of course Ben Carson advisors can't make him smart, you can't change its brain. That's a job for a neurosurgeon. It's the same when your barber has a #### haircut."

"Donald Trump didn't invent racism. Trump didn't invent islamophobia. And he didn't invent violence. All he did was put his name on them like he does with everything else."

"Race jokes are kind of like orcas: powerful and entertaining, but you put them on display in the wrong environment and people are going to get hurt, and the joke might die. Like this one just did."

"Hey, son, what the hell is with your haircut? Did you see a paintbrush and say "I want that dude's look!"?"

"What was ironic to me was that white people had spent years seeing video of black people being beaten to death by other white people, but this one video of a black man kicking a cat, that’s what sent them over the edge."

"Every year under apartheid, some colored people would get promoted to white. People could submit applications to the government. Your hair might become straight enough, your skin might become light enough, your accent might become polished enough — -and you’d be reclassified as white. All you had to do was denounce your people, denounce your history, and leave your darker-skinned fiends and family behind."

"We tell people to follow their dreams, but you can only dream of what you can imagine, and, depending on where you come from, your imagination can be quite limited."

"The credits from the second Godfather are better than Godfather III."

"In the hood, even if you're not a hardcore criminal, crime is in your life in some way or another. There are degrees of it. It's everyone from the mom buying some food that fell off the back of a truck to feed her family, all the way up to the gangs selling military-grade weapons and hardware. The hood made me realize that crime succeeds because crime does the one thing the government doesn't do: crime cares. Crime is grassroots. Crime looks for the young kids who need support and a lifting hand. Crime offers internship programs and summer jobs and opportunities for advancement. Crime gets involved in the community. Crime doesn't discriminate."

"In society, we do horrible things to one another because we don't see the person it affects. We don't see their face. We don't see them as people. Which was the whole reason the hood was built in the first place, to keep the victims of apartheid out of sight and out of mind. Because if white people ever saw black people as human, they would see that slavery is unconscionable. We live in a world where we don't see the ramifications of what we do to others, because we don't live with them. It would be a whole lot harder for an investment banker to rip off people with subprime mortgages if he actually had to live with the people he was ripping off. If we could see one another's pain and empathize with one another, it would never be worth it to us to commit the crimes in the first place."

"The more time I spent in jail, the more I realized that the law isn’t rational at all. It’s a lottery. What color is your skin? How much money do you have? Who’s your lawyer? Who’s the judge?"

"Every country thinks their history is the most important, and that’s especially true in the West. But if black South Africans could go back in time and kill one person, Cecil Rhodes would come up before Hitler. If people in the Congo could go back in time and kill one person, Belgium’s King Leopold would come way before Hitler. If Native Americans could go back in time and kill one person, it would probably be Christopher Columbus or Andrew Jackson."

"As the outsider, you can retreat into a shell, be anonymous, be invisible. Or you can go the other way. You protect yourself by opening up. You don't ask to be accepted for everything you are, just the one part of yourself that you're willing to share. For me it was humor. I learned that even though I didn't belong to one group, I could be a part of any group that was laughing."

"People don’t want to be rich. They want to be able to choose. The richer you are, the more choices you have. That is the freedom of money."