Billy Herman Quotes

I was always interested in the 1920s and the gangster world, in general.

The Prohibition era is so vividly depicted in 'Lawless.' John Hillcoat does a remarkable job of rooting his film in such a tangible reality.

There'd never been a more advantageous time to be a criminal in America than during the 13 years of Prohibition. At a stroke, the American government closed down the fifth largest industry in the United States - alcohol production - and just handed it to criminals - a pretty remarkable thing to do.

Terre Haute. They used to call it 'Terrible Hut' because it was so wide open. Gambling, red light district, speak-easies. I entertained for all the gangsters. Can't name a gangster that didn't come into the place where I worked.

The last copy of the Chicago Daily News I picked up had three crime stories on its front page. But by comparison to the gaudy days, this is small-time stuff. Chicago is as full of crooks as a saw with teeth, but the era when they ruled the city is gone forever.

Dancing in speakeasies was a job, and none of us knew for sure who were gangsters. No one told us, so how could we know? My mother used to come and take me home. We thought nothing of walking home together at two in the morning.

One of the things is that the good intentions of Prohibition, from reading over the years and from becoming obsessed with the research of gangs in New York City, seems to have allowed crime figures at the time, like Luciano, Capone, Torrio and Rothstein, to organize to become more powerful, which pulled all the way through until the '70s.

I was raised in Chicago and I guess that was one of the special breeding grounds for gangsters of all colors. That was the Detroit of the gangster world. The car industry was thugs.

Chicago was a town where nobody could forget how the money was made. It was picked up from floors still slippery with blood.

They are superpower of villains. They are superpower of Al Capone.

In Chicago, we love our crooks!

I went to high school with Al Capone.

I love 'Boardwalk Empire.' I really love that world. I love that style. I love all the actors on it.

'Boardwalk' begins literally on the first day of Prohibition, which I think was a wonderful way to start - to have the story kind of come out of this massive historical phenomenon. And the more I researched the '20s, the more I discovered just how interesting it was.

Old Americana vintage gangster stuff has a fantastical feel; it feels less dirty in a way. It feels like the opera of crime.

Someone once accused me of being like Eliot Ness. I sad no sir, I'm not E.N., but I can promise you that I'm not Al Capone!

There's nothing routine about 'Boardwalk Empire.' It's like being in some secret society where they call you up and tell you where to go: 'Meet us at the corner of such and so.'

I started with the book 'Boardwalk Empire' and then immersed myself in the history of Atlantic City, World War I, the temperance movement, Prohibition, pop culture. I even read the news and magazines of the period just to soak in it. That was before I even started thinking of the story.

Everybody calls me a racketeer. I call myself a business man. When I sell liquor, it's bootlegging. When my patrons serve it on a silver tray on Lake Shore Drive [in Chicago] it's hospitality.

Bootleggers were romanticized by people like F. Scott Fitzgerald, for example. Gatsby is a bootlegger. And they were not thought of as evil criminals in the newspapers, either. There was a certain amount of affection for them.

When I was growing up in the mid-'50s, the Roaring Twenties were a huge part of the culture. There were a number of films and a bunch of television shows that dealt with the mythology of the underworld from that period.

I grew up in the South, and our way of dealing with each other was teasing, ribbing, making fun and scrapping in the street. Criticism doesn't bother me so much. It actually made me, when I was younger, more aggressive. But you get into middle age, and you lose interest in that stuff. It's not serious.

If I could have lived as an actress in any period, it would have been the 1920s - I would have loved to have been part of that speakeasy era.

The only time I would like to see was the 20s and 30s in America because I love the music and the style and the optimism, I wanted to see New York being built. I wanted to see all that, you know.

All the way back in 1999, when I first stumbled upon the idea of a project tracking John Dillinger and Baby Face Nelson and all the major Depression-era bank robbers, I thought the subject was too big to be a single book. Instead, with a friend's help, I pitched the idea as a miniseries to HBO. To my amazement, they bought it.