Quotes of All Topics . Occasions . Authors
Tone is everything in TV.
I love crispy, cool sheets.
Originally, 'Popular' was going to be a movie.
I love Olivia De Havilland. She is forever a lady.
I love 'Girls' on HBO because it's brave and cool.
And everybody has the motivation to be that killer.
I lean into fear because I feel like that excites me as an artist.
You can't be the enfant terrible when you have the enfant at home.
When I was starting out in Hollywood, everything was such a battle.
I had a very rocky, difficult, emotional childhood with my parents.
I think I have a pattern of nice and lovely and then dark and twisted.
I was an altar boy, with a very strict father. And movies were always my escape.
I'm fascinated by the whole clown phobia thing because I personally don't have it.
I think John Landgraf sees things in the same way I do. We see eye to eye on a lot.
I'm very black and white about what I like or don't like, and I've always been that way.
I'm passionate about actors, and I'm passionate about showing actors in different lights.
It's interesting when women direct. The work is better. They ask more people to participate.
Even though 'Glee' is sometimes a hard road, I am very excited about writing a multi-year arc.
The greatest thing that you have when you're a showrunner is this opportunity to create worlds.
I actually think actors both are drawn to playing real-life historical people and are terrified.
You've not felt the pain of rejection until a television show based on your own life is canceled.
I believe most people don't go into show business unless they've been majorly unloved as a child.
The only way to get through the life I had was just to have a big head of steam and determination.
I started off as a journalist when I was young and I did not get paid unless I wrote three stories a day.
I'll ask the writers' room who they voted for Emmy awards, but I'll never ask who they voted for president.
I came of age during AIDS and the terror of that and the sadness and the death and the overwhelming despair.
I love Larry Kramer's advocacy, and I love him as a person, and I think young people need to see that story.
The Hollywood thing is - like, it feels like the biggest thing in the world, and yet it's the smallest town.
I don't think there's ever a winner in a feud. It's about emotional pain and an inability to conquer the pain.
I find that women are much more comfortable showing their emotion and inviting you into their emotional landscape.
Well, I'm from Indiana. So to me when I was a little kid growing up, Cincinnati was the glamorous New York of it all.
Yeah, at home it's all moonbeams and puppy-dog tails, so I guess I do have a darker side - and I like writing about it.
When I was growing up my favorite show was 'The Mary Tyler Moore Show', and I loved all the stuff that Norman Lear did.
Just because you have a baby on your hip - or one on the way or two at home - doesn't mean you can't go after your dreams.
I love actors, but I really love actresses, and I really love actresses whose work touched and informed my coming-up years.
I'm not interested in anything but emotionally driven stories; that's why almost all of my work is exclusively anchored by women.
In television and the movie business, the people who are promoted and the people who are mentored always look like the white guys.
I remember I always felt much more safe standing up on a chair and singing in front of my mother than I was in front of my father!
I love Sarah Jessica Parker; I've worked with her. I think she's amazing... She's a great producer and has a great business acumen.
I had been accepted to film school, but my parents couldn't afford it, and yet they made too much money for me to get a scholarship.
I think that the work that Bette Davis and Joan Crawford did was truly extraordinary, and that's their legacy. Not the other petty stuff.
You know, I'm very particular about my sheets. They have to be one hundred percent cotton, with a high thread count. Only cotton. No flannel.
All the big successes of my career have been ideas that, on paper, you think, 'Well nobody's going to go for this because that genre is so dead.'
At the end of the day, a divorce is a divorce, and a break-up is a break-up. They are essentially small matters of the heart. They are human stories.
As a showrunner, you can never be a 'maybe.' When I do movies, there is a lot of, 'Maybe' and, 'Let's investigate that.' But for TV, it has to be yes or no.
I'd never had a mentor in Hollywood. Men have always been in control of the business, and they usually mentor people who are like them - but two inches shorter.
Sometimes in entertainment, when people have done the Academy Awards - like, for example, in 'The Bodyguard' - I just didn't believe it; it didn't feel authentic.
It's a weird thing, my shows. I don't know how to describe it, but I feel because I go about the casting process so slowly that it does feel like an instant family.
I think when you take the big swings - and I've done plenty of big swings that I was told were never going to work - those are always the things that break through.
I've always felt I've related to women deeply because of being gay and feeling like there was always somebody trying to oppress me, to keep me down, to put me in my place.