I think there's an element to this business that writers especially are overlooked in many ways and this made everybody kind of look at us differently. I do think that an interesting thing happened during it, which was being on these picket lines and looking at the huge amount of executives coming and going that you realize don't really add much to the equation.

Everyone's opinion is of equal value, which is bizarre to me. It's so hard to get anybody cast because you'll be on the phone with 15 people, and if anybody says I don't know about that guy - move on. Wait a minute, why is that person's note valid? It's such a bizarre process that's sprung up around it.

Every time someone does a Western movie, people flock to it. It's like, we're continually programming to people who are least likely to watch us. People in Nebraska aren't watching things on the computer, they're watching television. Why aren't we programming things for them? We only program things that appeal to New York and Los Angeles and in many ways spit on the rest of the country.

I eternally fight internal battles about developing things that only appeal to the East Coast and the West Coast. For years I've been trying to do a Western, nobody's interested in doing a Western, how can that be?

I did a lot of talking - not as much background talking as a lot of people because I've never been someone who is too afraid of saying what I feel. I just don't see any reason to.

I think it works if there's something online that is not in the show, or in a newspaper, if there's some added value to it - reading a newspaper on line, sometimes you can get video, which you can't get from reading a newspaper.

If you don't like me, you don't like me. You can call me anytime; I'll have an opinion on just about anything. I will also tell you if I shouldn't have an opinion on something - I just make television shows.