I've always said at the beginning of every single season of the show when I was running the show in the writers' room, "This is the last season, so let's smoke 'em if we've got 'em."

What I think networks do so well are big, fun, accessible, invite everybody into the tent kinds of storytelling, akin to an early Spielberg movie or a Michael Crichton novel. That's not to say that there aren't scary parts 'cause there are, and that there aren't sexy parts and edgy parts, just like early Spielberg would have, but there's a lot of heart, a lot of emotion and complicated characters.

People pitch me the crazy mystery mind-blowing thing all the time. My response is, 'Great, but how do the characters feel about it, and how do we reveal new facets and new dimensions of who they are?'

"I'm going to put out something that I believe in, or I'm not going to do it." I'm really scared of putting out a product that people will say, "Oh, that's not as good as the other thing."

The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.

People love a good mystery; I understand that.

If I had a worldview, and I don't know if I do,but if I did, it's one that's intensely humanistic.