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“If the Gods are fucking you, you find a way to fuck them back. It's Baltimore, gentlemen; the Gods will not save you”
― Ervin H. Burrell

“I leaned into my computer to give off the impression I was involved in something important, when actually I was reading [IMDB] trivia about the TV show The Wire. I’d ended up on the show page after following a trail of links that began with James Van Der Beek’s headshot. President Obama claims it’s his favorite show, and Omar is his favorite character.”
― Steven Barker, Now for the Disappointing Part: A Pseudo-Adult?s Decade of Short-Term Jobs, Long-Term Relationships, and Holding Out for Something Better

“David Simon: Everybody has an expectation that much of American television is about redemption and about affirmation. We were trying to make a show that was basically an argument of dissent. It was political dissent. It was saying our systems are not functioning. Our policies are incorrect. We're not going to find a way out of this unless we stand back and take stock and turn one hundred eighty degrees from what we've been doing, particularly in regard to the drug war and inequality that we were depicting.”
― Jonathan Abrams, All The Pieces Matter

“Lance Reddick: I was alone with David, and we just got to talking. I asked him something. I remember him saying organizations can't be reformed, but people can. I rememeber being struck by it when he said it, because I knew that I had never thought of it that way, and I knew that there was something profound in the insight. Then, over time, particularly when I watched the show, I realized how we see both on the criminal side and on the police side, you see people struggling to live up to the codes of the institutions that they're a part of and seeing how it chips away at their humanity.”
― Jonathan Abrams, All the Pieces Matter: The Inside Story of The Wire

“Ed Burns: You can rescue a child, but you can't rescue the children, and the the difference. Opportunity is a much better word than hope. If a child sees the opportunity and you can direct the child toward the opportunity, then the kid's okay. Hope is like a dream.”
― Jonathan Abrams, All the Pieces Matter: The Inside Story of The Wire

“Ain't no shame in holding on to grief. As long as you make room for other things, too.”
― David Simon

“to [David] Simon and his partner, Ed Burns, The Wire was explicitly a piece of social activism. Among its targets, large and small, were the War on Drugs, the educational policy No Child Left Behind, and the outsize influence of money in America's political sytem, of statistics in its police departments, and of Pulitzer Prizes at its newspapers. The big fish, though, was nothing less than a capitalist system that Burns and Simon had begun to see as fundamentally doome. (If Simon was a dyed-in-the-wool lefly, Burns practically qualified as Zapatista; by ex-cop standards, he might as well have been Trotsky himself.) In chronicling the modern American city, Simon said, they had one mantra, adapted from, of all sources, sports radio personality Jim Rome: "Have a fucking take. Try not to suck."
Neither Burns nor Simon would ever seem entirely comfortable acknowledging the degree that The Wire succeeded on another level: as beautifully constructed, suspenseful, heartfelt, reasonant entertainment. [...] "It's our job to be entertaining. I understand I must make you care about my characters. That's the fundamental engine of drama," Simon said dismissively. "It's the engine. But it's not the purpose". Told that The Wire had trascended the factual bounds that, for all its good intentions, had shackled The Corner, he seemed to deliberately misunderstand the compliment: "I have too much regard for that which is true to ever call it journalism." The questioner, of course, had meant the opposite: that The Wire was too good to call mere journalism. As late as 2012, he would complain in a New York Times interview that fans were still talking about their favorite characters rather than concentrating on the show's political message.”
― Brett Martin, Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad

“Kima Greggs: I've always been a bit of the antiestablishment side of things. I had very radical opinions about capitalism and the corporate structure.”
― Jonathan Abrams, All the Pieces Matter: The Inside Story of The Wire

“Vincent Peranio (Production Designer): I like the lighting. In so many vacant houses where we were filming, we're filming in a natural light or making it look like natural light because it didn't have electricity. Actually, some of the lighting to me was almost like a painting from the past, like from the seventeenth century, a Rembrandt look about it, the darkness of the house and the sunlight searing through the boarded-up windows. I think the show was bleak and beautiful in the way that looking at ruins in a ruined civilisation are.”
― Jonathan Abrams, All the Pieces Matter: The Inside Story of The Wire

“Kids don't vote.”
― Jonathan Abrams, All the Pieces Matter: The Inside Story of The Wire

“You follow drugs, you get drug addicts and drug dealers. But you start to follow the money, and you don't know where the fuck it's gonna take you.”
― Lester Freamon

“The hood is no meritocracy; there was nothing special about me that saved my life. It just wasn't my time.”
― Michael K. Williams, Scenes from My Life: A Memoir

“Way before I was anything or anyone, I was an addict. That was my identity, what people thought of me if they thought of me at all.”
― Michael K. Williams, Scenes from My Life: A Memoir

“Lambs, they go to the slaughter. A man? He learns when to walk away”
― The Greek

“A life. A life, you know what that is? It's the shit that happens while you're waiting for moments that never come.”
― Lester Freamon