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“Orwell was dealing with communism and his disillusionment with communism in Russia and what he saw the communists do in Spain. His novel was a response to those political situations. Whereas I was interested in more things than the political atmosphere. I was considering the whole social atmosphere: the impact of TV and radio and the lack of education. I could see the coming event of schoolteachers not teaching reading anymore. The less they taught, the more you wouldn't need books.”

“People need to take as much interest in other sports as they take in cricket, and that's where we come across a vicious cycle of performance, sponsorship, recognition, jobs and TV visibility. It's a typical chicken-and-egg story; each one is directly related to the other without an answer for what comes first.”

“I believe that the major operating ethic in American society right now, the most universal want and need is to be on TV. I've been on TV. I could be on TV all the time if I wanted to. But most people will never get on TV. It has to be a real breakthrough for them. And trouble is, people will do almost anything to get on it. You know, confess to crimes they haven't committed. You don't exist unless you're on TV. Yeah, it's a validation process.”

“My approach to 'Star Trek' was, 'I know science fiction, and I know screen writing.' That was very arrogant of me, but you really need to be a little bit arrogant to think that what you have to say is good enough to justify the expense of hundreds of thousands - now millions of dollars - to make an episode of the TV show.”

“True majorities, in a TV-dominated and anti-intellectual age, may need sound bites and flashing lights and I am not against supplying such lures if they draw children into even a transient concern with science. But every classroom has one [Oliver] Sacks , one [Eric] Korn, or one [Jonathan] Miller , usually a lonely child with a passionate curiosity about nature, and a zeal that overcomes pressures for conformity. Do not the one in fifty deserve their institutions as well magic places, like cabinet museums, that can spark the rare flames of genius?”

“The great writers like Chekhov know that tragedy and laughter are just a few steps from each other ... but it took me a long time as an actress to learn that. Actually Arthur Miller taught me in the Seventies. We were making a CBS TV drama of his play Playing for Time about Auschwitz but the characters were laughing. It was a big insight for me to realise that that was what's called gallows humour, in this case worse than the gallows, that humans need to laugh and make jokes in order to survive.”

“I own no TV stations, or Radio Stations or Newspapers. But I feel that people need to be educated as to what is going on, and to understand the connection between the news media and the instruments of repression in Amerika. All I have is my voice, my spirit and the will to tell the truth. But I sincerely ask, those of you in the Black media, those of you in the progressive media, those of you who believe in true freedom, to publish this statement and to let people know what is happening. We have no voice, so you must be the voice of the voiceless.”

“Science may have come a long way, but as far as religion is concerned, we are first cousins to the !Kung tribesmen of the Kalahari Desert. Except for the garments, their deep religious trances might just as well be happening at a revival meeting or in the congregation of a fundamentalist TV preacher.... As we move further from the life of ignorance and superstition in which religion has its roots, we seem to need it more and more.... Why has religion become a force just when we'd have thought it would be losing ground to secularism?”

“I remember I prayed to God. I was like, "Just let me be on TV." Let my friends see me on TV in a good thing. I like, if I'm funny a little bit on a commercial and then I don't need to act ever again. "Just let them see me." And then it worked. I got the commercial. I was on TV. My friends all saw me. I was a kind of a star at school for like three days. And then it faded away and I was hungry and I had to like make another deal with God. I remember it still.”

“Americans need help understanding their world now more than ever. [TV] believes it's filled its obligation to the public because it's presented both sides. But most of what we're living through now has multiple sides, and those sides, if you take the extreme oppositional views, have to be brought together for people to make a decision about how to act on the information.”

“It seemed to me at an early age that all human communication - whether it's TV, movies, or books - begins with somebody wanting to tell a story. That need to tell, to plug into a universal socket, is probably one of our grandest desires. And the need to hear stories, to live lives other than our own for even the briefest moment, is the key to the magic that was born in our bones.”

“Whatever is being investigated, created or produced now, in movies or TV, needs to consider the context in which it is being distributed. It's not a vacuum. There are certain universal themes of love, conflict, loyalty or family that are everlasting and that need to be presented in a way that makes it feel relevant, even if it's a period piece. You need to consider what context that film, that story and those characters are being seen in.”

“I've really dreamed of doing television. All of us do television, coming up. But when I was coming up, television was a black hole for actors. Now, television has a certain cache. Now everybody wants to be on TV because they're doing adult dramas. If you're an actor, it's like, "Well, get me on television," because it's the only place you can do it and also make a living at it. If my kids need shoes, I better do a TV show because I damn sure don't make any money with independent films.”

“I want to use film to tell stories that need to be told to spark discussions that will lead to change. I really want to see a change in the mindset of youth, how they see themselves and how they value life. Young audiences will be able to see themselves in this film and older audiences will gain an understanding of what their kids are dealing with on a daily basis. Kids discuss what they see on TV, social media, film so I want to create content that they will discuss and will change the way they think.”

“Government and politics isn't like a reality TV show. It's not about voting the bad guys out of the house. You know, it's about what do we need to take our country or our state or our city forward? And people, frankly, would be well advised to really get back into understanding politics.”

“It's impossible to overvalue the importance of television - both in its serious and less serious functions. It's one of our most important ways of finding out the truth - and also of changing the world, and finding out what in the world needs changing. It's also an immense bringer of joy - I learnt how to laugh through television, and now my children and I, every day of every week, share the joy and stupidity of TV shows - they actually make us HAPPY”

“The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.”