We are talking mostly cosmetic work at the Sports Arena and Coliseum, and we have so many more facilities, like Staples Center, that are available to us.
"David Simon" is an American author, journalist, and a writer/producer of television series. He worked for the Baltimore Sun City Desk for twelve years (1982–95) and wrote Homicide: A Year on the Killing Streets (1991) and co-wrote The Corner: A Year in the Life of an Inner-City Neighborhood (1997) with Ed Burns. The former book was the basis for the NBC series Homicide: Life on the Street (1993–99), on which Simon served as a writer and producer. Simon adapted the latter book into the HBO mini-series The Corner (2000).
He is the creator of the HBO television series The Wire (TV series)/The Wire (2002–2008), for which he served as executive producer, head writer, and show runner for all five seasons. He adapted the non-fiction book Generation Kill into Generation Kill (TV series)/an HBO mini-series and served as the show runner for the project. He was selected as one of the 2010 MacArthur Fellows and named an Utne Reader visionary in 2011. Simon also co-created the HBO series Treme (TV series)/Treme with Eric Overmyer, which aired its fourth and final season in 2013.
If you enjoy these quotes, be sure to check out other famous writers! More David Simon on Wikipedia.It occurred to me, having written a couple of 600-page tomes, that if you want to say something intricate about something as disorganized, confused, and interconnected as an American city, you want to stay for the whole season on a single story.
I would be lying if I said the journalism doesn't reflect my own choices as a reporter and a writer: what to say, what to emphasize, how to say it, what is true or untrue.
What writer wants to make compromises with story? Story is the only reason you're in it.
The arrival of Tiffany is a significant event for The Fashion Mall and indeed, the entire Indianapolis retail community, ... It again validates one of our core strategies - that the world's greatest retailers want to be at truly preeminent retail properties.
I covered everything. City general assignment, crime, politics, whatever. I worked on the rewrite desk for a time because I was quick and clean. My bread and butter was city crime and the drug culture in particular. You name it, I could give you eighteen inches of clean copy in twenty minutes on deadline.
I tend to suspect that my female characters are, to quote a famous criticism of Hemingway, men with tits. I think it is among my weaknesses and I work harder on those scenes, I think, because I feel vulnerable.
One of the sad things about contemporary journalism is that it actually matters very little. The world now is almost inured to the power of journalism. The best journalism would manage to outrage people. And people are less and less inclined to outrage.
If I let them, they would drag this out for another 20 years, ... They may be kicking and screaming, but they're going to clean that site up and it's going to be sooner rather than later.
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