Quotes from Misha Green

I think that's what we like to explore and see on TV these days especially in long form, is complicated people who have to make tough decisions.

When I read Matt Ruff's book, that was my first encounter with learning about sundown towns, and I was like 'What?' Like, you can't make this up. If I wrote this horror movie talking about sundown towns where you can't be black after dark in America, people be like, 'OK, we get the metaphor,' and it's like, no, that's real. It's not a metaphor.

I have read H.P. Lovecraft, and I understand why he has influenced so much of horror writing. But because of his history, I wasn't a huge fan.

I was familiar with Lovecraft, I also was familiar with his history as a person. So I had read his stories but I wasn't bananas like I think that a lot of people get bananas. I was like, they're good and I can definitely see the influences - but I can definitely read them and see the parts where you're being racist right there in your own stories.

I do think that Lovecraft is very influential to the horror genre, but I also didn't want to ignore the fact that he's a major racist.

I think that's when I get excited in the writers' room - when people are yelling back and forth at each other.

I'm a huge history buff, so I just love to research, and I'm also slightly lazy.

Horror is my favorite genre, but it works best for me when it's a metaphor on top of something we can all relate to.

One of the reasons I love horror so much is - when it's done well - you can keep peeling away the layers and see something new every time.

I love monsters.

How do you make sure that you stand your ground and you find your place in the world, even if that place is not the place everyone else tells you it's supposed to be? For me, TV is character-driven and those are the types of characters I want to watch.

That's what the best art does, it starts the conversation. What you may see in a scene or a line isn't what I might see, but that conversation we have, that's how we move forward.

We usually center our narratives that come out of Hollywood from a white male center.

You can't keep letting people live their happy little lives in oblivion. To move forward they have to be uncomfortable.

The horror genre has long been used to uncover the dark underbelly of things.

Everybody wants to watch the underdog win.

I was like, 'Oh, let's do a show about the Underground Railroad.' I never come up with great titles, and I thought, 'Underground' is a fantastic title. I got really excited.

The story of the Underground Railroad is the story of American heroes, and who doesn't want to hear a story about American heroes?

On 'Underground,' we had used contemporary music to pull you into the present and not just look at it as a portrait on the wall and in the past.

During the Civil War, the Underground Railroad became a spy network, so we could still have fresh stories for these characters years into the future, with desperate people still doing desperate things.

The story of the Underground Railroad is a thriller. These are people who are basically in a heist movie, and it's the most precious cargo ever, your life. You're fighting for your freedom.

The Underground Railroad was a spy network for the North and that story has never been told.

When you have 10 people in a room, you're always able to come up with new ideas.

Stephen King's 'It' is my favorite book of all time. I was that kid that would come to the library and be like: 'There's more Stephen King? Great.'