television-producers

"Their [politicians] words and phrases are skillfully chosen to keep us complacent and confident in our fairly comfortable world. We don’t usually notice this because ours is a world in which whether or not the words we are offered are true rarely makes much difference to our lives. But, out in the real world, the way words are used or misused can make the difference between life and death."

"And all of these things, the selection of just the right characters, just the right soundtrack, and just the right tone is an incredibly hard thing to pull off in TV; incredibly hard. You can't fake it, you can't screw up your face and slog your way through it: it only occurs when an innate facet of someone's character is allowed to bleed into the production, giving it a unique personality and resonance all of it's own."

"We would go to the BBC once a year, show them the films we'd made, and they would say, "Yes, lovely, now what are you going to do next?" We would tell them, and they would say, "That sounds fine, we'll mark it in for eighteen months from now", and we would be given praise and encouragement and some money in advance."

"[Responding to the perceived surrealism of Clangers] They're surreal but logical. I have a strong prejudice against fantasy for its own sake. Once one gets to a point beyond where cause and effect mean anything at all, then science fiction becomes science nonsense. Everything that happened was strictly logical according to the laws of physics which happened to apply in that part of the world."

"What matters most is the story, and it should never be sacrificed to the method. These days immense quantities of money are spent making something that doesn't call for it. As a result, to raise enough backing, children's films have to be dumbed down for the widest possible market."

"And they [Smallfilms] had a superb ear for creating sound effects that children could easily mimic the moment the programme had finished: just think about the swanny-whistle voices of the Clangers, the beatbox rhythm of Ivor's engine, or the marvellous carousel of just bloody lovely sounds that made up most of Bagpuss […] These are the sounds I hear in my own head when I remember my own childhood, and Oliver Postgate put them there."

"That was all, but I was fizzing with excitement. It didn't matter what the picture was of. It didn't matter that Master Ho had stumbled rather than walked… I had done something momentous. I had opened up another dimension to the still picture. I had given it the extra dimension of time. I had made it come to life."

"Being creative, having to do something new, invent something, alter things, in order to show you're still there is a personality fault, basically. I think a lot of people who have done creative things do so because if they don't, they cease to exist. This, I know, is true of myself, and I wouldn't wish it onto other people. There is nothing quite like as frightening as having a wife and six children and a blank piece of paper, which is your next year's feeding, and you have to pull out of the sky your livelihood. The idea of being able to live on one's creativity, where you are dubious of its continuity, is a recipe for terrible anxiety."

"The films we made were aimed at the Head of Department at the BBC, who was about 57 at the time, and she was a nice lady called Ursula Eason, and very humane and ordinary, and full of fun. If we had studied children in any way, apart from having children, we wouldn't necessarily have succeeded in selling the films, because the woman at the BBC had fairly clear opinions of what she would find acceptable, and these were conditioned in some ways by the fact she was a middle-aged, English (well, Irish actually, if you go all the way back) lady, who was brought up as I was on Beatrix Potter, A. A. Milne, and Lewis Carroll, and all the sort of 'Founding Fathers' of English Tweeness."

"All the way through, if you look at my films, you will see that my animation is very economical, but very powerful. Because, I'm not recreating life, I am illustrating a story and telling a story by an extension of the pen. I'm coming at it from the other direction, and what is the minimum amount of visual delivery that I have to do to get this to appear to be alive, which one has accepted more or less anyway that they're there, and to convey the movements, and it is surprising how much one needn't do, and how much better it is from not doing those things that animation doesn't do well."

"Animation wasn't so much an imitation of life - it was a punctuation of conversation. We always stayed on the one who was talking. It made for a very simple film that was very clear, and there were no unnecessary things going on all around the edges. If I'm going to say something to you then I'm going to do it with a certain amount of gestures; in-between the times I'm completely still. This was how we managed to get through 120 seconds of footage a day, when most studios were getting through 10 seconds. We'd never move a mouth, we'd change the expression, because people were watching the hands."

"I was also invited to give a couple of informal seminars to the Animation School at the RCA. These were so informal that they could hardly have been said to happen, but they taught me more than I really wanted to know about the way in which our simple craft had been inflated into a maniac pretentious pseudo-art."

"Come to think of it I must have produced some of the clumsiest animation ever to disgrace the television screen, but it didn’t matter. The viewers didn’t notice because they were enjoying the stories."

"That voice of his was loved by the nation. I mean, if I could've been Oliver Postgate, with that voice, and with his mind, and those wonderful, wonderful stories, I would have given my teeth. He puts his arms round you, figuratively speaking, and says "Look, it's all right. Don't worry. Whatever I'm on about at this moment, there's security here with me." And that's the voice that does it; I had to work to be loved, Oliver Postgate, lucky man, didn't."

"Mythologies become exhausting burdens, from a writer’s perspective. If you look deep into The X-Files, which we bring up a lot in the room as something we’re just terrified of, or late in the game with Buffy, as much as I love that show, things get complicated and it’s hard. It becomes less about the fun of why you fell in love with that show, in the first place, and more about servicing all of these storylines."

"Every so often you want to map out your plot mythology but never so specifically that you can’t let a story surprise you. You want to allow the type of action of the writer's room so that you have the ability to take a left turn."

"I’m not a fan of endless mystery in storytelling. I like to know where the mythology is going and that we’re getting there in [an] exciting, fast-paced way."

"We were really interested in exploring the idea of authority figures getting the public really riled up with xenophobia and racism, but ultimately the most dangerous people are the white dudes standing next to you. We wanted to reflect that story. So, the supervillains are, in a way, a misdirect."

"If I had a worldview, and I don’t know if I do, but if I did, it’s one that’s intensely humanistic. [That worldview] is that the only thing that matters is family and personal connection, and that’s the only thing that gives life meaning. Religion and gods and beliefs — for me, it all comes down to your brother. And your brother might be the brother in your family, or it might be the guy next to you in the foxhole."

"When you start a show, the plans are not set in stone. They’re really mutable, cocktail napkin sketches."

"I work out lifting heavier weights because that’s, you know, that’s what the scientists say, really help you burn the sugar before you burn the fat and I’ve gotten control over my diabetes"

"I think stage presence and recognizing the relationship with the audience have helped me in the sense that I am very conscious that this is art that I want to be consumed by people, and if that is the case, then the people should be in mind when I’m creating art"

"I think there’s something very beautiful and artful about seeing people pursuing their dreams, some of the barriers they face, and what they do to push through that is a very universal journey. And so I hope while they’re laughing, they’re also gleaning the human side of it.And that’s something beautiful: that combination of humor and real grounded emotions"

"Oh, this is a space where I have the most power in any kind of artistic lane that I’ve been able to occupy"

"And so I think that has just given me a perspective of elevating my awareness and consciousness of how I want people to perceive it and receive what I’m doing, that I think gives me a greater sense of motivation and information to ground my characters in something that I feel people can actually take away with them"

"I feel like Dave freed the slaves. The comedians, we were slaves to PC [politically correct] culture and he just, you know, as an artist he’s Van Gogh. Cut his ear off, he’s trying to tell us it’s OK. I just feel like he’s saying, ‘All that I have, I’m not afraid to lose it for the sake of freedom of speech. You can’t edit yourself. Comedians, we’re like…Mercedes makes a great car. But they gotta crash a lot of them before they perfect it"

"I can’t speak about the content of the show but what I say is, there is a bigger conversation we need to have. Someone needs to look us in the eye and say, ‘You’re no longer free in this country. You’re not free to say what you want, you say what we want you to say. Otherwise we will cancel you.’ That’s the discussion we should have"

"So I got diagnosed with diabetes about 10 years ago. And so I started growing fresh vegetables. I only eat my vegetables"

"In this particular time, the conversation around art and commerce is one that is very relevant.And having that conversation around the expectation of that relationship, what that relationship looks like, and the execution of trying to exist in that relationship, I think, is something that a lot of people can find relevance in and feels universal, just with existing in a capitalistic society.And as it continues to get more capitalistic, seeing how that affects art and the people that are trying to make it."

"I think it allowed people to see me in a way they hadn’t been able to see me before because I was stepping into lots of characters and not necessarily projecting myself. Stand-up was the art form that I felt really amplified me as Dewayne, the person"

"And that was something that changed my career because it allowed people to see me in ways that they hadn’t before, which was as a full person. You could see that I could write, you could see that I could perform, you could see that I’m funny, you’re seeing the stories that I’m telling you, which are about my life"

"in your own thought, you create opportunities and obstacles"

"It's not just about what other people do. It's about you, too."

"there's nothing noble about keeping one's self small"

"There was something about going through a pledge period with other young women who you really didn't know very well"

"I grew up in a time where these things begin in childhood—your grandparents, aunts, uncles, your own parents, the teachers in your classrooms"

"Well, you can respect people. But can you depend on that person? Can you trust that person? And can you be depended upon and can you show up?"

"fame and fortune must be corrupting"

"To be held in esteem by other people is, for me, a humbling experience."

"In mothering, I didn’t think about myself as being a Black mother. I’m a mother"

"The internet has given a lot of anonymous people a very loud voice"

"The ethnicity is obvious — it’s in our food, it’s in the music we listen to, it’s in the books we read, it’s in the way we live, it’s in the company we keep and the dances that we do"

"I didn’t think about my children being Black children; I think of my children being children"

"I know who I am"

"inner reality creates the outer form"

"I’m not my children’s regular friend; I am their mom first. But they can come to me for anything. That’s the kind of mom Leruo has in the story. So that’s the similarity between me and Moretlo."

"It’s such a special feeling, and I think that every actor in their life dreams to have content or shows that make people wanna go back for more."

"I’m sure every actor has that moment where, when they are in the environment, they wonder: What would my Oscar speech be? What would my Emmy speech be? You watch the Emmys and you daydream, and you see yourself standing there saying something. Then you start thinking about who you’d thank and who you wouldn’t thank."

"Everything begins with yourself. You are the product. Actors, sports players — You’re a product. My physical is the product and I have to manipulate the self to achieve certain things; to act, to perform, to MC, etc. I have to mould this product. It begins there."

"“I have a lot of friends who are writers and they want to tell amazing black stories, but they can’t because they are not allowed to. There is a variety of stories to tell but there is no platform and that’s frustrating"