Gary Sherman

Vice Squad' needed to be real if it was going to have the impact that I wanted it to have.

I think that we, as a civilization, need to sit down and figure out how to solve political problems over a table, not over a battlefield.

I was an outsider as a kid, and I grew up around a lot of violence.

I love making movies, but a movie becomes your entire life for, like, two to two and a half years. There's no way around it; if you're really going to be serious about a movie, it has to be your life.

I know what it is like to fear violence. I understand the adrenalin rush that comes before violent confrontations. I write my scripts from an emotional point of view and direct so the audience can experience this adrenalin rush.

I have this data bank garbage can in the back of my head that is an emotional collection of events that have occurred in my life.

Television offered me the opportunity to do new things; I had written a lot of scripts other than scary movies. I had actually written some romantic comedies and stuff that I really wanted to try my hand at, and nobody would let me do that. Television allowed me to do anything I wanted.

Working with Jack Albertson was one of my great joys.

I am anything but a misogynist - I am quite far to the other side of that.

The gruesomeness of 'Death Line' was an absolute necessity for me to bring up the political content of the film. I wanted to show how devastating class distinction could be.

The whole idea of 'Death Line' was to kind of highlight class distinctions in England more than to make a scary movie, and I just kind of wrapped my political treatise of the class distinctions in England in this movie.