You can do a lot with a commercial break - you can change days, you can suggest the passage of time. So sometimes that's a great thing artistically, to know that's going to be there. Obviously you'd always prefer that people see it straight through, and you don't want them to be taken out of it by advertising, but that's the reality of what's paying the bills here.

I think there's a kind of elegance to it, to work within that framework where what you don't see is often more enticing.

I have this amazing team that I trust. I completely go with their decisions on things. I don't have to go in and micromanage everything. And I think the other thing is, you start to sort of... I wouldn't say relax, because I've never relaxed. But I've tried to have more confidence in the things I like, or the things other people like. That's really the big thing in this job, to second-guess yourself all the time.

It took seven years from the time I wrote Mad Men until it finally got on the screen. I lived every day with that script as if it were going to happen tomorrow. That’s the faith you have to have.

All human stories are interesting. You don't put a kid in a show because you need a device. They have a story, too.

It's an ugly thing to see ambition and to see people satisfying themselves.

That's the miracle of telling a story in film: You can express something inside someone's mind.