Kurt Sutter quotes:

I've learned in most areas of my life, to bounce heated choices off other people. Co-workers, my agent, my wife, a sponsor, etc. A majority of the time, that keeps me on the right side of things.

Man's inhumanity to man is as old as humanity itself. Some people just do evil things. Most do not. A billion people have seen 'Batman' movies over the past 20 years, and they have been entertained and inspired. One man saw it as a sick entry point for mass murder. The one is tragic. The billion are not. I choose to write for the billion.

The whole Twitter phenomenon is really indicative of what's happening in this country. And I say this in condemnation of myself as much as anyone else - we are growing into a nation that has no time, desire or capacity for truth. All we can handle is 140 characters of knowledge.

I'm a guy desperately in need of buffers. I have big feelings, big reactions, big emotions. All the things that serve me as an artist, but challenge me as a socially-responsible human being.

All the people who follow me on Twitter know my sense of humor. I sometimes forget the blogosphere will give it more weight than I intended.

The trap in Hamlet is he's the most passive of Shakespeare's characters. He's not a Richard III, not out there taking a lot of action. It's a lot of asides and soliloquies where he's wrapped in angst, and that's not a very interesting character.

I was really exposed to great old-time literature - the classics, the poetic realists like Strindberg and Ibsen and all those guys. I was really inspired by all those guys. That's when writing became a primary focus.

What happens on 'Mad Men' in terms of the acting and the writing and the directing, it's superior. And yes, it has tremendous cache and buzz because it's become iconic, but it also deserves all the kudos and the awards as well, because it's a beautiful show to look at.

I'm a guy who has problems with moderation. All or nothing. Binge and purge. Kill or be killed. Gray is not a color I wear well. I should be dead. I know that. I should not be successful. I know that too. My daily existence is a toss of the coin - one side, fear, the other side, gratitude.

I've made a career writing about fictitious anti-heroes. To create these worlds, I've spent a lot of time with active members on both sides of the law. And if I had to pick the most interesting of the two, the choice is obvious - we all love the guys in black.

Me personally, I'm a guy who it took a long time to figure out what I'm supposed to be doing. I relate to a lot of that finding oneself a little later in the game, or being thrown a curve later in the game.

The lazy blogosphere has given up on journalism and now trolls Twitter for their on-the-record in-depth articles.

I navigate through the world with the excitement and determination of a child. That's why I'm an artist. I'd die without an outlet for expression. Unfortunately, more often than not, that childlike energy is the maturity level I bring to many circumstances.

Never in the history of 'The Shield' was the word 'LAPD' ever mentioned. We would mention districts, like Wilshire and Hollenbeck and Marina, but Farmington was a fictitious district, and we never actually uttered the word 'LAPD.' So that was sort of the deal we made with them.

I think there's a part of me that feels the need to hide a little bit behind a character.

Unlike fiction, which you create before you go into production, with reality you kind of create it after everything is produced. The drama and the storytelling is really done in post.

I'm drawn to the classic antihero, the guy who's probably made a bunch of mistakes and really has the capacity to go either way. That's the most interesting type of character for me to watch, to see what decisions they'll make. There's a lot of gray area there for a writer to explore.

I joke that I learned the essentials of storytelling from Hanna-Barbera, but I pretty much did. That kind of television is what enamored me as a kid, and that's what really got me hooked. You could say that's where it all began.

I love being able to stay real to the world.

I've always wanted to play with this idea - and I didn't want to leave it to the last season, but I wasn't quite sure when it was going to happen - of putting Jax [sons of Anarchy] at the head of the table and the ripple effect on the guys and the loyalties of it and where people land.

I can be arrogant, I can be insufferable.

My wife, Katey Sagal, has transformed herself from a sitcom cartoon to a dramatic powerhouse.

As an actor, I've been drawn to those characters that are further away from who I may be.

I always have a sense of where I want to end each season, emotionally and relationship wise and with the theme, and I'm always able to hit that.

I have a loose blueprint of where I want the show to go. I stress, quite frankly to remind myself, that I hold onto that vision very loosely, so that I can be moving towards something, but I don't ever want to feel like I'm in a box that'll stop me from exploring a potential new direction.

I started doing some more specific research on Wales in that period because I like the idea of being authentic to the territory, and with that came the knowledge that there was this great rebellion that was happening with the Marcher barons and conflict with the king. A lot of it wasn't documented by the English.

My production team doesn't like not knowing what anything is going to look like, but creatively, that's fun.

The great thing about having a serialized drama (like 'Sons of Anarchy') is that I'm allowed to bring up events and circumstances that have happened in the past in other episodes to show that this kind of violence doesn't happen in a vacuum. It has ramifications. It has repercussions. Whether it's a week from now or five years from now, you know it will play out. Nothing is ever tied up into a perfect knot.