Quotes from Jill Soloway

You have to totally change the way that society's structured in order to being to heal.

I wouldn't necessarily say that 'Alpha House' or 'Betas' embodied a particular vision of Amazon of the kind of brand or programming they were gonna do. I think those were the first lucky creators who hit it right for them.

All writing is propaganda for the self.

In most shows, there's usually a hero or a protagonist, and even if there are multiple heroes or protagonists, most shows try and make it so you really always know who's the good guy and who's the bad guy.

I love a kind of shambling outsider protagonist who always feels like they're 'other.'

You must speak the vision of your project in a way that convinces people to pay for it. If they won't pay for it, that is the artist's fault. It is my fault. It is your fault. It is not the executive's fault or the world's.

There's always been something about Jeffrey Tambor, not only as an actor but as a person, where his ability to embody a sort of very dignified feminine way of being just - this was just very clear to me.

I've been writing about misogyny for 20 years and trying to understand what femininity means for my entire career.

If you're female, and you want to express your femininity, you're actually demonized in the 'Free To Be... You And Me' generation.

There's something about the kind of unconditional wild joy of creating that you have with your siblings that I am always trying to get back to.

If there's a woman who is exhibiting her femininity or performing her femininity, it's always seen as meant to pull in the male gaze.

For me to be able to punch above my weight creatively, to actually take a stand for what I was doing, I had to take on everything. I had to be the person who says, 'I wrote it. I directed it.'

When you're making an independent film, it's like this actor plus this actor equals this funding, this financing. Pull this actor out, this actor is still here but this money's gone. It's this frightening puzzle mosaic that is the world of independent film.

My sister and I created a show called 'The Real Life Brady Bunch,' which was sort of a theatrical sensation that got us attention in L.A. and New York.

I'm a naturally open person - some might say radically open.

'Six Feet Under,' for me, was college. Alan Ball and Alan Poul ran that show and really taught me what it meant to really run a show in a classic way.

It's really easy to be funny. You get a lot of funny people in a room, the show is funny.

The first time that I saw people actually make the thing that I wrote was my first episode of 'Six Feet Under.' It was called 'Back To The Garden.'

I like to create a community where people want to come and have a good time and do their best work.

I really relate to the feeling of falling in love 10 times a day and wishing I could never stop falling in love.

My purpose as an artist is to heal the divided feminine in our culture. Well, okay wait, that sounds incredibly cheesy and like something a massage therapist might do at Esalen.

When I write, I lose time. I'm happy in a way that I have a hard time finding in real life. The intimacy between my brain and my fingers and my computer... Yet knowing that that intimacy will find an audience... It's very satisfying. It's like having the safety of being alone with the ego reward of being known.

I've noticed that women are always punished for their sexuality in popular culture.

I'm a fan of Louis C.K., I'm a fan of Lena Dunham. I love shows about people that other people would consider unlikable, or, like, the work of Woody Allen and Albert Brooks.