The ideal time for writing a [television] script is four days, though sometimes it has to be two or three days depending on the deadline. If it's two days, sometimes there are things I see that don't work as well. If I have two weeks, the scripts get kind of flabby and lack the adrenaline that a sense of deadline fills you with.

My court skills may have atrophied.

I don't think it's that strange that a show has sort of a bumpy beginning. It's just part and parcel of the process.

But I do believe that in all my shows, I really enjoy the quirky, the eccentric characters, the ones you don't meet every day.

One of the most fundamental questions people have about defense attorneys is, 'How can you do that? How can you go to bat everyday for a person that you may not know is guilty but you have a pretty good idea that he's not so innocent?' It's a question that defense attorneys answer for themselves by not addressing.

It gets harder and harder to succeed and find audiences with the 500-channel universe, the remote control, and people being so trigger happy with that remote control. It just gets harder to get a foothold.

People are out of their home on a Saturday night or they're at the movies or they're at dinner and a lot of the people who flip on the television are doing just that. They may have never seen your show before and you can't count on to your audience to be there week in and week out.