As a network, they're not the network that usually picks things up after the first episode airs. They definitely have a methodology that they follow. But they're very happy with the show [Into the Badlands]and they're very excited with how it's performed.

They [movies] don't really have the cultural impact - other than "Star Wars," of course - that they used to because television is something that week to week people invite into their homes. It's a relationship that in success can go on six, seven, eight years. I think certainly in the early days, you definitely want that engagement.

With a television show, it's about fighting to get it on the screen every week. It's like going into battle, and you have to fight these fights. Some are big fights, some are skirmishes, some you can come to detente on, but it's always a fight.

To AMC's credit, I think what they saw was the show doesn't exist in the marketplace. They knew that there was a hunger for a martial arts show. They also knew that you have this strong tradition of martial arts cinema, so even though it's not branded by a novel or a comic book or an old movie or something, we do have the genre itself, which people love.

And having those mystical elements you see in Asian cinema and certainly Asian martial arts cinema, it's something that we wanted to begin to introduce - the idea of spirituality and the idea of there being something else out in the world besides people who are great fighters.

I mean when you go to a network and say, "We want to make a martial arts series in the future." And give them the pitch. And by the way, the only way to achieve the authentic Hong Kong martial arts we need a full-time fight team unit working concurrently, and we're hiring a Chinese fight team from Hong Kong. And they were like, "Great, let's go."

Television has always been a conversation. Movies come along and they're kind of like three-ring circuses, and there's a new one next week.