If I had to guess and put a name on it, I'd say that at some point, the drug war was as much a function of class and social control as it was of racism.

You can't make a good show based on pure verisimilitude, pure anti-drama. But you have to acknowledge a lot of ordinary life. Most TV doesn't do that.

Transitions are a part of life, allowing for perpetual renewal. When you experience the end of one chapter, allow yourself to feel the emotions of loss and rebirth. A bud gives way to a new flower, which surrenders to the fruit, which gives rise to a seed, which yields a new sprout. Even as you ride the roller coaster, embrace the centered internal reference of the ever-present witness.

The mismanagement of American newspapering is quite remarkable. But all of the fellows responsible are now on a golf course in Hilton Head or some such (place), having secured their bonuses and golden-parachute buyouts.

We didn't create the culture of film. We certainly market it better than anyone in the world, but film could have happened anywhere. It's not distinctly American, as witnessed by the fact that there are film communities throughout the world that tell stories to their own cultural liking.

What appeals to me in The Deuce is some of the same things that made me interested in The Wire, which is there seems to be a theme here around markets and capitalism and labour. This is a moment, 1971, of something that was under the counter: then brown paper bags suddenly became legal, pornography. And it was really the birth of an industry which is now a multi-billion dollar American standard. And these people were the pioneers at a moment where there really were no rules, then suddenly there was a legal industry that was allowed to exist.

I'm just a swell guy. No, that's a ridiculous notion - if you're being an asshole to people, you're being an asshole, that's all there is to it. It can't be rationalized because you wrote something worthwhile. First obligation is to other people.