Peggy Lipton Quotes

It's the big question of every TV show, right, where you have these two people who it's clear the world wants to put them together and everyone wants to see them together, but also when you're telling these stories you can't throw these people together immediately.

Think 'Game of Thrones.' In the old days, this sort of show might be considered bad writing. It doesn't really seem to be moving toward a crisis or climax, it has no true protagonist, and it's structured less like a TV show or a movie than a soap opera.

I think one of the great strengths of 'The Flash' is just how close everyone is on the show. They tend not to have these raging conflicts, like what we keep giving everybody on 'Arrow.' That show is more of a soap opera, and I don't say that derogatorily.

I was creator and executive producer of 'The Brady Bunch' on TV. The stage version was done by others, but it was a repeat of the old scripts. The 'Gilligan' musical is a completely original work with all seven characters and 18 original songs.

People talk about 'getting rid of the old image', and I guess there's some merit in that. But the truth is that people loved 'The Wonder Years' - I can't turn my back on it.

There were 84 original episodes. It was rated No. 1 and No. 2 on the Fox Children's Network. We figured it was time to make it available to people who have never watched it.

Often you find the character through the things they say. How they talk about other people, how they describe themselves - which is very rare.

Dialogue is what a character's willing to share and reveal to another character, and the 90% they aren't willing to share is what I do for a living.

I watched 'In Treatment,' that was good.

First lead [in a movie] requires a different approach like trying not to give it all away in the first scene. It is a skill, a learned skill.

Being a person, I had come to realize, is a communal activity. Dogs know how to be dogs. But people do not know how to be people unless and until they learn from other people.

How we treat other people changes them, but even more so, how we treat other people changes us.

I grant this mode of secluding boys from the intercourse of private families has a tendency to make them scholars, but our business is to make them men, citizens, and Christians. The vices of young people are generally learned from each other. The vices of adults seldom infect them. By separating them from each other, therefore, in their hours of relaxation from study, we secure their morals from a principal source of corruption, while we improve their manners by subjecting them to those restraints which the difference of age and sex naturally produce in private families.

The virtues of men are of more consequence to society than their abilities, and for this reason, the heart should be cultivated with more assiduity than the head.

All of us... when we think we are talking most intimately to someone else, are actually addressing an image we have of the person to whom we believe we speak.

What justifies a character singing one idea for 3 minutes on the screen? I get impatient and want the story to carry on. I don't get impatient in the theatre.

I think the more depth you build into the characters, and the more you see where they came from, the more fun you can have. Setting up different characters in different relationships is always helpful as you move forward.

These days movies are cut very quickly and sort of fragmented and I tend to do slower moving stories where people develop relationships with people. I think I'd probably do a lot better if I lived in Europe - I think it's more of a European sensibility somehow.

If you wish particularly to gain the good graces and affection of certain people, men or women, try to discover their most striking merit, if they have one, and their dominant weakness, for every one has his own, then do justice to the one, and a little more than justice to the other.

Relational trust is built on movements of the human heart such as empathy, commitment, compassion, patience, and the capacity to forgive.

The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.

When it comes to thinking about how a character talks, there are literary and language considerations. For actors to be able to differentiate between themselves and the characters they are playing while at the same time remain in character and spontaneous requires a sophisticated combination of skills and spirit.

No one can build his security upon the nobleness of another person. Two people, when they love each other, grow alike in their tastes and habits and pride, but their moral natures (whatever we may mean by that canting expression) are never welded. The base one goes on being base, and the noble one noble, to the end.

I chose to go back to 90210 because it's home, you know, and we had such a loyal fan base for so many years that I owe everything to our fans. So I felt - I really felt the need to give back to them and to give then Donna again, and see where she is now. And I'm really excited to play her again.