A Quote by Aidan Gillen

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. — © Aidan Gillen
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.
We understand that, in our communities, black trans folk, gender-nonconforming folk, black queer folk, black women, black disabled folk - we have been leading movements for a long time, but we have been erased from the official narrative.
I was on MTV's 'Real World' at the time when 'Queer Eye' came out. I remember, the first time I won an award, I got the award, and they were like, 'It's a tie! With 'Queer Eye!'' I never thought that I would one day follow in their footsteps.
Why the connection with musicians? I think it's because in the end we're doing very similar things - we're telling stories, we're using poetic, lyrical language, and we're distilling stories down into their simplest form. We're both telling a story in two languages - word and music for them; and word and image for me.
I had an amazing experience being on a hit show for Showtime, doing 'Queer as Folk', and impacting things socially, like helping change hearts and minds. It's such a big chapter of my life.
A lot of the stories about urban America tend to be written on the margins. We focus a lot on these big global cities - New York, San Francisco - or we focus on cities that are having the toughest time - Detroit, Newark, Camden.
Angels, demons, spirits, wizards, gods and witches have peppered folk religions since mankind first started telling stories.
I've been writing stories all my life. My very first story had two little black girls riding horses. They were both me, too, so that's how into me I was.
I think I first learned about Stonewall in Queer Theatre class at the University of Pittsburgh. It made me mad that queer people out at bars could be raided and arrested and harassed by the police just for being who they were.
Twenty-two years ago Judge [then-Senator Stephen] Douglas and I first became acquainted. We were both young then; he a trifle younger than I. Even then, we were both ambitious; I, perhaps, quite as much so as he. With me, the race of ambition has been a failure--a flat failure; with him it has been one of splendid success.
Pete Seeger is a modest, unassuming, cheerful, and kind-natured man. He's a good folk singer, if you can stand folk singing. And he's such an excellent banjo player that you almost don't wish you had a pair of wire cutters.
The first script was one of six original stories I had written in the form of two trilogies. After the success of Star Wars, I added another trilogy. So now there are nine stories. The original two trilogies were conceived of as six films of which the first film was number four.
We are storied folk. Stories are what we are; telling and listening to stories is what we do.
Life is a story. You and I are telling stories; they may suck, but we are telling stories. And we tell stories about the things that we want. So you go through your bank account, and those are things you have told stories about.
Boston had the first public library, Liverpool had the first lending library. Both cities have pioneered medical advancements during the decades and both have the largest economic powers in the world exactly 213 miles to the south by car.
I had an idea in the beginning to do a book about some of the events that I had covered, just various stories that I've covered. Reporters spend a lot of time telling each other tales about how they covered stories, and that's what this book started out to be.
I don't think it's going to be possible for the next generation of writers to tell stories without telling stories about telling stories.
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