One of the things about working for an old school studio like Warner Bros. is that there is an institutional culture and institutional memory, in terms of production design, camera work, and directors who understand how to do this kind of thing.

To me, the difference between mythology and real history is that the real history has to tell a kind of believable story of how things happened. The physics has to work.

I think when people talk about lighter drama, they tend to use that term, not derogatorily, but 'lighter' means sort of less to a degree, but if you're an actor, light drama is often mistaken for easier drama.

When you get to the fourth, fifth and sixth years of a show, it's really good to have held back, so that you have somewhere to go. That also applies to levels of violence, levels of humor, levels of production value.

One of the tricks that you have to learn, with episodic TV, is you don't know how many years you're going to be blessed with.

There is a place for visionaries and the avant-garde in this world, but not at 9 o'clock on a network.

It's easy to leave people wanting more after the first episode, but it's hard to leave people wanting more after the 24th episode. And it's my job, more than anybody else's, to keep that in mind. One season, in TV terms, is nothing. You need to hit it for three or four seasons, and then you're doing well, in TV terms. Then, you've done your job.