A Quote by Gregory Smith

It's hard to reinvent the wheel with a cop show. But 'Rookie Blue' has a pure emotional center that's not cynical. — © Gregory Smith
It's hard to reinvent the wheel with a cop show. But 'Rookie Blue' has a pure emotional center that's not cynical.
It is bad enough to reinvent the wheel. What really hurts is when they reinvent the flat tire.
If I write a cop show, it's not up to me to decide how different it is from 'Law & Order.' I had screenwriters go on and on and on about how their cop show isn't like any other cop show on TV. They made very good points, and it absolutely doesn't matter. It's entirely up to the audience to decide.
It takes courage to reinvent joys, to reinvent opportunities, to reinvent dreams, to reinvent connections, to reinvent hopes that you have set aside.
In the old days, you would chastise people for reinventing the wheel. Now we beg, 'Oh, please, please reinvent the wheel.'
In whatever system where the weight attached to the wheel should be the cause of motion of the wheel, without any doubt the center of the gravity of the weight will stop beneath the center of its axle. No instrument devised by human ingenuity, which turns with its wheel, can remedy this effect. Oh, speculators about perpetual motion, how many vain chimeras have you created in the like quest. Go and take you place with the seekers after gold.
When 'Rookie Blue' began, I was so proud to be a Canadian on a Canadian show that was getting fans in America. I'm so used to working on American projects with Americans, it was a big deal for me to be on a show that showcases our talent... our 'peeps.'
The greatest thing about form and convention is that it saves you from having to reinvent the wheel. Now, whether you mount the wheel to a horse carriage or a Formula One racing car, make it plain or give it spinning rims, those are all craft decisions. But the fact of the wheel remains: it will turn if you set it down. That's what I mean about the beauty of the gifts genre can offer.
Usually, new producers and writers want to put their stamp on a show. They don't want to continue what's working. They want to reinvent the wheel. It's an ego thing.
There are a couple of specific things about the show [Into the Badlands]. We didn't want to do a contemporary show, which is always "Chinese cop comes to New York, teams up with racist cop, together they fight crime..."
When I was a rookie, what motivated me was trying to win Rookie of the Year and play the best that I could that I would compete so hard.
Liberals in blue states working in blue enclaves within blue cities that are producing the media, don't even see that their positions fit on the spectrum as left of center.
Visualize a wagon wheel as a complete team. A leader might be the hub of the wheel at the center. Now suppose the spokes are the connecting relationships the leader is building with people on the outer rim of the wheel. If the hub is removed, then the entire wheel collapses. In a situation like that, if a team loses the leader, the entire team collapses.
Don't reinvent the wheel, just realign it.
On 'The Messenger,' just imagining playing the part of a soldier in that movie was kind of hard for me. And in 'Rampart,' the idea of playing a cop was even harder. It was hard to imagine myself as a cop.
I've always loved the idea of the rookie cop vs. the grizzled veteran. A lot of comedy can be mined from that.
You don't have to reinvent the wheel, just attach it to a new wagon.
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