Quotes from Michael Gross

When I was doing 'Family Ties,' I was not quite that mellow as a real father. In fact, my wife used to call me Captain Von Trapp from 'The Sound of Music.' I tended to be a little more authoritarian. I had been a very disciplined child myself, so I made the mistake of thinking one size fits all.

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.

It's actually difficult to know what anyone wants these days. Tastes seem to change so quickly nowadays depending on the latest blog. The latest Facebook page. Twitter is somewhat important in telling you what you should want.

We don't know if there is a 'Tremors 6.' If there is, we're not sure what that is yet. I know what I would like to see as 'Tremors 6.' Because I've been with this a long time. I have specific desires along those lines. But clearly, we have left the door open for a sequel.

Fifteen—it's spelled out in the building's custom-designed logo—was something completely different from the buildings before it. Like its logo, the neoclassical über-condo was a throwback to the golden age of Manhattan apartment houses, which are called prewars though they were mostly built between 1912 and 1930, as well as a gauntlet before the remains of what, for half a century, had passed as American Society.

I can understand the feeling of a man struggling to escape the practical slavery imposed by the multitude of obligations which crowd upon a man who tries to be a good citizen. Root writes to Jack Morgan in 1927 about the Metropolitan Museum of Art, from Michael Gross' Rogues Gallery