If you do something awesome, you should be proud of yourself.

Hindsight is 20/20, but the moral of the writing for me is that when you're feeling very scared and nervous about something and you're fairly convinced that it could be a massive disaster, that's exactly the idea that you should do.

At some point, you can't take a risk just to take a risk because that's a betrayal, in and of itself.

I've always been really interested in the future, and I feel like all of the movies that I've been exposed to, over the course of the last 20 to 30 years, have shown me a future that I don't really want to be living in.

But I do think that, when you slow the conveyor belt down, the quality control tends to go up. You have a lot more time between seasons to talk about what worked and what didn't work, and plan for the future. And the pacing of the storytelling, particularly for on-going serialized dramas, means that you don't need to do non-essential episodes, just because you have to fill this pre-existing schedule.

I've always believed that a good twist is one that, when it is presented to the audience, half of them say, 'I saw that coming.' And half of them are completely and totally shocked. Because if you don't have the half that saw it coming, then it wasn't fair: You never gave the audience a chance to guess it.

As a storyteller, you also don't want to make people feel like they're left out, like other people who have read the book have an interior knowledge of this show, and the degree of difficulty in watching it is much higher.