Jill Soloway People Quotations

We grew up watching Woody Allen and Albert Brooks movies, and we see this neurotic, annoying, unlikeable male at the center of a story, and people root for him anyway. I think that's really what we have been craving as women is the hero who doesn't look perfect and doesn't act perfectly.

We're a whole culture of people who have a really hard time seeing beyond themselves.

Most people privilege the technology, almost as if actors are in service to the machine.

I think of myself as a producer. As a producer and as a showrunner, I already understand what it meant to gather people into a room and step back, to create the boundaries of 'everything's okay' to allow TV writers to go to their craziest places.

I've always been really interested in secrets - how people find ways of doing things without telling anyone else in order to keep themselves feeling safe in the world.

People who don't have experience setting healthy boundaries, they have secrets instead.

Normally, I think the people you would use on your first film, it would be a real struggle to bring them with you onto your television show. I just brought every single person with and expanded my little indie film world.

Your first job, I tell people I mentor, is managing your affect. Be nice and say nice things. Make it so that the people walk away from interacting with you and say, 'That was fun.' That will make them want to come back and do it again.

You must speak the vision of your project in a way that convinces people to pay for it. If they won't pay for it, that is the artist's fault. It is my fault. It is your fault. It is not the executive's fault or the world's.

A lot of the people I know connect through working. We're all so ambitious. Sometimes my friends will say, 'I want to hang out with you.' And I just go, 'Well, let's do a project together.' That's the only way I can.

At East Side Jews, we can take a risk because it isn't all about the rules. I started it to create a space for all those people who wouldn't go to temple because they were scared of getting the rules wrong.

It's a struggle every day to get people to invest financially in portrayals of women that aren't satisfying to straight white men.

It's really easy to be funny. You get a lot of funny people in a room, the show is funny.

I'm embarrassed that people will know that I can't ride a bicycle. For years, I have been feigning bad ankles and saying I wasn't in the mood for a bike ride.

I'm a fan of Louis C.K., I'm a fan of Lena Dunham. I love shows about people that other people would consider unlikable, or, like, the work of Woody Allen and Albert Brooks.

Independent filmmakers already have their heads around people on their couches watching their movies.

I noticed that people were craving a way of reinterpreting tradition and of being Jewish without joining a synagogue.

I like to create a community where people want to come and have a good time and do their best work.

I just feel like content is content; people want to see it resonate.

We stay away from pop culture almost all the time, you know. That's sort of a rule. You won't really hear people on our show talking about Beyoncé or Adele. We try to make it a little bit more timeless.

If you go to Europe, public bathrooms have any-gender sink areas and stalls for everyone to use. This is completely reasonable. It potentially involves the destruction of the urinal industry, which I think people would be happy to see go away.

Fear of anti-Semitism almost is part of our religion. Throughout time Jewish people have experienced traumas that we relive in a lot of the things we celebrate.

Many of our holidays revolve around traumas that happened to our people and how we must remember them in specific ways. The way these stories are told and what we take away from them can change, and do in certain contexts, but overall I am not sure whether Jews want to let go of the narrative of the victim.

I've been told by people I respect that flashbacks only work if they have their own narrative, but they can't be part of the present narrative.

If people want to watch that five hours [of stream show] on their own terms in their own schedule. It needs to work if somebody wants to stop after an hour and a half or stop after half an hour. People talk about it like food. Like, "I just want to let you know I'm saving it." They talk about it like pasta. "I'm saving it. I'm only going to have one a week." And I love the fact that everybody can have their own experience and I want to make sure that what we put out there works in as many ways as possible.

If most of the reviewers are white cis men, if most of the distributors are white cis men, most of the executives in history have been white cis men. Most of the people who have been giving awards to people are people who've already been in the business - retired white cis men. They've been creating a body of narrative forever.

I'd always have a sort of automatic urge to share what I'm doing with other people.

The first time that I saw people actually make the thing that I wrote was my first episode of 'Six Feet Under.' It was called 'Back To The Garden.'