Nypd Blue Quotes

Because . . . most of us think that the point is something to do with work, or kids, or family, or whatever. But you don't have any of that. There's nothing between you and despair, and you don't seem a very desperate person.' 'Too stupid.' 'You're not stupid. So why don't you ever put your head in the oven?' 'I don't know. There's always a new Nirvana album to look forward to, or something happening in NYPD Blue to make you want to watch the next episode.' 'Exactly.' 'That's the point? NYPD Blue? Jesus.' It was worse than he thought. 'No, no. The point is you keep going. You want to. So all the things that make you want to are the point. I don't know if you even realize it, but on the quiet you don't think life's too bad. You love things. Telly. Music. Food.

To appreciate a rose, you do not sniff the soil from which it grew; to understand a rose, you must know the soil that nourished it and gave it life.

Milch had a bigger cast, a bigger set (on the Melody Ranch studio, where Gene Autry had filmed very different Westerns decades earlier), and more creative freedom than he’d ever had before. There were no advertisers to answer to, and HBO was far more hands-off than the executives at NBC or ABC had been. And as a result, there was even less pretense of planning than there had been on NYPD Blue, and more improvisation. There were scripts for the first four episodes of Season 1, and after that, most of the series was written on the fly, with the cast and crew often not learning what they would be doing until the day before (if that). As Jody Worth recalls, the Deadwood writers would gather each morning for a long conversation: “We would talk about where we were going in the episode, and a lot of talk that had nothing to do with anything, a lot of Professor Milch talk, all over the map talk, which I enjoyed.” Out of those daily conversations came the decisions on what scenes to write that day, to be filmed the day after. There was no system to it, no order, and the actors would be given scenes completely out of context from the rest of the episode.

With Milch fully in charge of the writing process — or, in many cases, the rewriting process — it became all-consuming. When Milch and Lewis replaced Bochco on Hill Street, Milch had developed a working method that he would continue to use for the next several decades: he would lie on the floor of the writers’ room (Milch has a bad back, which can make sitting for long periods difficult) while a typist scrolled through each script at his instruction; Milch made changes line by line, word by word. By the early days of NYPD Blue, it was understood that regardless of whose name was on the script, the bulk of the words — and, almost as importantly, their order— came from Milch.

Curiously, the surveillance, harassment, infiltration, arrests, sabotage, slander, disruption, and petty bullshit endured by the left is only rarely matched by the level police action against the right. Even during World War II, when the U.S. was at war with Nazi Germany and allied with the Soviet Union, the NYPD still invested more resources in infiltrating the Communist Party than in monitoring fascists. Likewise, though the FBI eventually initiated COINTELPRO-WHITE HATE against the Klan—an effort that lasted seven years and included infiltration, sabotage, snitch-jacketing, electronic surveillance, black-bag jobs, and petty harassment — 98 percent of COINTELPRO files concerned leftist movements.

We were scarecrows in blue uniforms. After a grand total of five days of blackboard instruction and fifty rounds at the NYPD firing range, my new police academy classmates and I were standing out on the sidewalks of central Brooklyn pretending to be police officers. They gave us badges. They gave us handcuffs. They gave us guns—standard police-issue Smith & Wesson .38 Specials. They told us, “Good luck.” In early July 1966, riots had broken out in East New York, Bedford-Stuyvesant, and Brownsville, Brooklyn. Hundreds of angry young men were roaming the streets and throwing bottles and rocks. Already they had injured police officers and attempted to flip over a radio car. On one corner, police found eighteen Molotov cocktails. The borough commander was calling for reinforcements—and fast.

Plus Bjørnar seemed to increasingly regard me more like an annoying lab partner than a life partner. It was like he was Bobby Simone and I was Andy Sipowicz in NYPD Blue. Before they became good friends. Or after Sipowicz became an unpleasant alcoholic again. And before Simone found out that Sipowicz had been making out with Russians. My

More people are killed by errant cabdrivers in New York City every year than are killed by NYPD cops—and

Look, no one's always a liar, and no one's always corrupt. Everything is a situation. You keep people out of situations, and you keep them out of trouble" Det. Jerry Martens (IAB)

Everything's a situation" Sgt. Jerry Martens