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Person

Marta Kauffman

"At a certain point the show tells you what it wants, and you know you're going in a certain direction and you had no idea that this arc would be so powerful and you have to go with it… When you do a show, your intention is not to affect American culture or to have people start wanting to wear their hair like this or dress like that... 'Dream On' was fantastic, it was a great experience, we learned so much from it. But 'Friends' was a perfect experience. It was creatively satisfying; and we worked with extraordinary people across the board."

Person

John Wells

"What do I like about writing? It's brutal when you're writing! It's just disappointment after disappointment in yourself for the scene not being good enough. But man, when it finally works there's nothing better."

Person

Patricia Heaton
"It was scary the way the 'Everybody Loves Raymond' writers would write exactly what I was going through in my own life. It would freak me out that I would be dealing with the kids' school stuff, or with an aspect of my relationship with my husband, and I'd get the script and it would be right there on the page! I think it's what made the show so successful -- the experience of the characters is really universal."
Person

Peter Boyle
"I do always have a feeling that 'Raymond' sort of comforted America after [9/11]. The following week is when syndication actually started and we were on 11 times a week."
Person

Doris Roberts
"I can make you both cry and laugh in the same sentence. That's my talent and I'm very proud of that."
Person

Brad Garrett
"What I used as an actor when I played Robert is that Ray's an only child and they forgot to tell Robert." 
Person

Sumner Redstone

"I believe that the only philosophy of life that's compatible with sanity is optimism. And the other thing I believe, and I've taught to my kids from day one: success is not built on success; it's built on failure. Frustration. Sometimes even calamity -- and how we deal with it."

Person

Tom Freston
"We had come up with a logo for $1000, the MTV logo that you see today with an offbeat, downtown company called Manhattan Design… We made up 10 or 12 versions of it and said it's going to be a container. We're going to fill it and change it; it's going to have whiskers on it and there's going to be eels in it and it's going to look like nothing they've ever seen before. We took it to Benton & Bowles, to Ogilvy & Mather, and I can remember the creative director saying, 'you can't use this; it breaks every rule of corporate identity. You need a logo that's consistent.' We fired the agency. It became one of the most iconic logos in the history of not just television logos, but of anything."