You simply cannot do a sitcom by committee. It will not work. You've got to have one or two clean, creative voices in charge, and there's got to be some faith by the studio and network in those people to make the right choices.

I would recommend that any writer get off their ass at least once and just try it. Directing is a completely different set of muscles. It also affects your writing because, once you start directing, you tend to write your scripts with directing in mind.

The problem is that if we had known Satan was taking over the world we would have needed a whole other budget for, like, dragons and flying demons and, you know, like the sun disappearing from the world. Winter is coming. It would have been so expensive the way we would have needed to do it, had we known that the apocalypse was coming.

You've gotta have a path [in your life]. And then, within that path, you have to be flexible. When things aren't working, you've gotta cut bait and find something else, but if you don't have a path, you're just dead.

Gilmore Girls was the highlight of my ridiculous life. I can't wait to sit with these unbelievable broads and relive a time where sleep did not exist, where stress and coffee were mama's little helpers, and where we all dove into the deep end together to make something weird and very, very cool.

I think you can't go into any story-breaking process thinking, 'What if they come off as unlikeable?' You just gotta break the story because if you know who your character is, the story will tell you. The story will dictate and say, "This feels off-kilter for this particular person."

The way television works is that directors come in and out, and they're not there all the time, following every character through every scene. They're vagabonds who go from one show to another.