Cheo Hodari Coker Quotes

It works in the comic book, but as the audiences have gotten older and more sophisticated, I think the stories need to grow up with them. This is a story about a couple of rival gangs and what goes wrong in a couple of days.

'The Wire' is very realistic and based on real events.

'The Wire' really drew on a lot of real-life situations and real-life organizations - it created fiction to make a social statement about reality.

The fascination for me writing about crime in Berlin was the idea that there was this much bigger crime taking place in the background, a fantastically epochal moment in history which is just going on. That just sort of makes the whole thing have a greater resonance.

I love rap because it talks about pain that comes authentically from the ghetto. It moves me.

My manager sent me the first two scripts for 'True Detective,' and I just thought they were so interesting and that the world they were depicting was so titillating to me.

I rap about Memphis and what a dangerous spot that is.

My favorite TV show of all time is 'The Wire,' which has the feeling of a project-based show. You draw in people from disparate parts of the world, and they have to work together to achieve a goal.

That godfather of the modern action blockbuster, 'The Godfather,' is entirely character driven, propelled by the transformation of a crime lord's youngest son, who breaks bad when he evolves from white-sheep war hero to blood-soaked inheritor of his father's empire.

'Dark Blue' is ultimately a gritty crime drama, at its core. I don't think that is ever going to change.

When I was young, I thought it was normal to go to sleep to the sounds of sirens. People on my block were in the biggest gang in the city. They were my close friends - they showed me the ropes, who to watch out for.

People say 'The Wire's bleak, y'know, but I see it as a love letter to Baltimore, and it's one written in a very strange and complex way.

Both 'The Wire' and 'Queer as Folk' had a big scope. They were panoramas, telling ambitious stories about two cities, Baltimore and Manchester, for the first time.

Superman's always chasing after someone who just mugged somebody, and I've never seen that happen in my life.

'180' is a romantic film, but I don't think it can be classified as a fluffy love story. It is a wonderful story with a script that is layered and more complex than the normal ones.

'Criminal Intent' scripts are very good. Like others involved in 'Law & Order' stuff, I've come to appreciate the lack of 'soap,' if you will. The story dominates. You don't spend a lot of time with the psychological underpinnings of the police.

I thought 'Gone Baby Gone' was really modern in showing a couple going on an adventure.

We want 'McMafia' to be a tense gangster story but also a family story. It's a collusion of those two worlds.

It's understandably obvious, when I was making 'Company,' of the underworld genre, people would compare it to 'Satya.'

I grew up in the inner city. It wasn't a joke.

And Alpo ordered guys to slaughter guys, and the whole Harlem was in tears when Rich Porter died.

The consensus is that no more than five to ten people in a hundred who die by gunfire in Los Angeles are any loss to society. These people fight small wars amongst themselves. It would seem a valid social service to keep them well-supplied with ammunition.

The crime film is the most honest American film.

The crime part is the engine that moves the narrative and allows me to write the other things I want to write about.