Zitat des Tages von David Milch:
What part of 9/11 is big? If the future continues to reinterpret the past, it could be argued that 9/11 provides irrefutable proof that unless there is some other way that we learn to deal with our technology or deal with our brothers and sisters, it is goodbye as a species. That genie does not leave that bottle.
There is not an amount of money that a writer can earn that I can't blow.
Ego suppression can be an act of ostentation.
The kind of flinching from any form of art or experience that PETA seems to advocate is ultimately life-hating.
I had proposed to HBO a series about the city cops in Rome at the time of Nero. What had interested me was the idea of order without law. The Praetorian Guard, who were the emperor's guards, understood how they were to proceed. But for the city cops, who were called the Urban Cohorts, there was no law at all.
I've been beaten. I know what that's like. They say, 'Who has been a nail can learn to be a hammer.' So I know what it is to beat people.
A syndicate is a group that has gotten together to pool their money so they can cover more contingencies. If I come to track with, say, $200, and I join a syndicate of 20 people, each of whom can bet $200, we can spread our bets, and that gives us a better chance of winning.
Commercials were once TV's version of the church. Which is to say, you couldn't offend the sponsor; therefore, certain values had to be underscored in the subject matter.
Your fundamental responsibility is to stay true to the deepest nature and intention of the materials.
The idea of the western, I believe, as people conceive of it, is really an artifact of the Hays Production Code of the '20s and '30s, and it has really nothing to do with the West and much to do with the influence of middle-European Jews who had come out to Hollywood to present to America a sanitized heroic idea of what America was.
I'm no rose. I have been around a while, and you never know when something is going to be the last thing you do.
I try to do the story the way I feel the story should be done, and how that folds into whatever larger sorts of categories or questions is really none of my business.
I'm not saying I'm wealthy. The best thing that ever happened to me in that context was turning everything over to Rita. And the business people. I am on a leash. That's not the end of the world.
As a writer, I don't have a sense of my own position. I try to disappear and not to think of myself at all when I'm working.
With 'Nostromo', Joseph Conrad said that he had wanted to write a novel about the degradation of an idea. That's what we wanted to show in the case of Dustin Hoffman's character, Bernstein.
When I was working on 'Deadwood', it was understood that the script was a work in progress, and when we got to set, everyone would kind of work on it together.
Even having all the time in the world, it's better to collaborate with your brothers and sisters. It's ultimately the richest experience.
I remember when I was reading 'The Bear,' I was reading as a kid. All these years later, one returns to that for an entirely different reason.
Humility has to do with trying to be a vessel of purposes you're content to understand as not your own.
To think in terms of what the effect of a story is going to be, as opposed to trying to discover its inner logic, is one of the fundamental dangers in the process.
Most races are claiming races. For the lower-caliber horses, it's a way the track has of forcing people to run their horses at approximately the price at which they would not mind having the horse bought.
Someone asked me, 'How long do you intend to do 'Deadwood'?' And part of my sociopathology, I say, 'Well, when does my contract run out?' And I realize my contract ran out at the end of four seasons.
I am an instrument of purposes that I don't fully understand.
What cops are hired to do is to control people who will not abide by the social contract.
Every man's entitled to hope.
The whole idea of going out to a movie was really a secularized version of going to church.