I've done a lot of television in life, and I don't remember the last time that I felt so consistently happy [working with Jenji Kohan].

The elegance and the quality - the talent is always in the literature. I start with the word and I base everything on that. It doesn't make any difference to me.

I've had young women come to me and say that before they watched 'Voyager' it didn't really occur to them that they could be successful in a higher position in the field of science; girls going to MIT, girls pursuing astrophysics with a view to a career in NASA.

An Edward Povey hangs in my living room and every day I am reminded of his originality, his beauty, and the eternal promise of his craft.

It's the digital era. What makes it exciting is that it's both the Golden Age of television and the Wild West of television. Something is happening now that's unprecedented, and we know that we're a part of it. What could be more exciting or better than that? You can't lose because you're on the pony and you're staking the claim.

Over the course of my career, which is about 40 years, I've visited plenty of prisons and I know what they're like.

I think the chemistry on the Orange set is extraordinary and I’m going to risk and say this: I think by virtue of the fact that there are not so many men, we are free to be absolutely authentic. There is a lot of freedom and trust.