A Quote by Solly Granatstein

Housing in New York seemed to fit Norman Lear. In addition, his shows confronted all kinds of social issues - racial separation and prejudice being foremost among them. The Evans of Good Times were the first black family to be the focus of a primetime American TV show. A lot of the people we came across in filming were familiar with the role Norman played in catalyzing important national conversations about race. They seemed grateful to him for trying to move the needle.
After we did [All In The Family], that ended up being a real love fest all around. Me and Norman, Norman [Lear] and me, Rob Reiner, everybody liked everybody. So about six or seven months later I moved out to L.A. and I got a call that Norman wanted to see me. I came in and he said "ABC has given me a property that they just optioned to make into a TV series. It's from a play called Hot L Baltimore, and I want you to be in it."
Michael Moore's first big film "Roger & Me" has an extremely powerful scene in which a family in Flint, Michigan is evicted right around Christmas. That was an inspiration to me to document the stories of people living on the edge as they're happening. My aim in "A House Divided" was to explore the urgent challenges of housing inequity in New York through the eyes of Norman Lear.
I think Peter Norman recuperated in the sense that people who knew who Peter Norman was, he built his character around the legacy of his family, in terms of what they taught him about equality and justice for all.
I walk into office, which is the casting office for CBS in New York. Mainly what they cast out of this office was the CBS daytime shows. I go in and walk into this room which every seat is filled with young African-American boys and girls and they were in their teens. I went, "I'm in the wrong place. Why am I here? What's going on?"So I go in and meet Norman [Lear].
I am what I am as a writer because of Norman Lear and Spike Lee. Norman Lear in particular.
On Memorial Day, I was out floating on Lake Norman and came across Denny Hamlin. We struck up a conversation, and one of the first things we were talking about was how much it helped him when he started racing the Cup car and how much it helped his Nationwide program.
The beautiful thing about having grown up in Brooklyn is, because of the rich cultural and racial diversity there, no one seemed to give too much thought to where I fit on the racial spectrum. But there were times when I would run up against someone who was interested in figuring out what race was. That would come as a surprise, and in some cases, like a slap in the face.
I have nothing but gratitude for the people who made the film. It was a most unusual experience. I'm no judge, and the only film I've ever seen made was Mockingbird, but there seemed to be an aura of good feeling on the set. I went out and looked at them filming a little of it, and there seemed to be such a general kindness, perhaps even respect, for the material they were working with. I was delighted, touched, happy, and exceedingly grateful.
As far as getting my start, it was really Norman Lear, even aside from being on 'All in the Family.' He helped me get my start as a director. He was the one who said, 'Let him do 'Spinal Tap.' Let him give it a try,' because I had been trying for years to get that thing off the ground.
The struggle is how to write optimistically when the world we're living in is not inherently optimistic. I love the idea of the family from the most Norman Rockwell version to Norman Bates. Without family, we have very little - it is the most basic social structure. So yes I suppose I wanted to write a hopeful book about the evolution of the family.
I remember when I first came out on tour, it was Greg Norman and Nick Price. We forget how big Norman was, what a presence he was. I remember one of my first tournaments, Greg threw an orange peel down on the ground and some fan ran over and grabbed it. 'This is Greg Norman's orange peel!'
At first, 'Family Ties' seemed to just be a wonderful project of its time. These were the Reagan years, the new conservatism. Alex P. Keaton quickly became the Fonzie of the '80s, so it seemed very much a product of its time. But I soon began to realize that it went far beyond that. These great family shows transcend whatever time they are in.
I think most people played both variants and regular games. It was a period when variants were very popular and there were a lot more variants being played at that time. Every week practically, it seemed someone would publish a new variant in a zine.
Norman Lear was talking about everything in the '70s... race, sexism, all of it. The network comedy really stayed away from that in the 1980s and 1990s.
Going to New York to do whatever - show business - it just seemed fun. It seemed fun to go to the big city and meet all kinds of different people and maybe be famous. It was just exciting. So I wasn't scared
Going to New York to do whatever - show business - it just seemed fun. It seemed fun to go to the big city and meet all kinds of different people and maybe be famous. It was just exciting. So I wasn't scared.
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