I've started a company, called Tall Girl Productions, and we've got our first project that is purely producing, not writing, with a writer named Evan Daugherty. It's for NBC, it's called Afterthought, and it's science fiction-ish. That's fun.

What I really want to do is create great roles for women. And I'm not talking Nicholas Sparks romance. I think women's roles have gotten ghettoized in these sort of places... I'm thinking women in action, comic books, or like the Tony Soprano of women. We need some complex roles.

When I'm stuck in my writing, the world is amiss. If I'm eating a sandwich, it's an unsettled sandwich. If I'm in the shower, it's an incorrect shower. It's profoundly uncomfortable. But it's what keeps me pushing.

When I was developing the [TV Series "Daredevil"] idea, we were really doing something closer to what was in the comic book. By that, I mean in terms of civilians in the street knew that superpowers were an everyday matter of fact. When it finally ended up at Netflix, they really decided to land it in the Marvel Universe that exists in the cinematic universe. That changes the story entirely. It was no longer about the other, which is what that metaphor was. It's really more about the character herself, which I love.

I've really been very focused on 'Jessica Jones.' Our series was well on its way to being created by the time we even saw scripts from 'Daredevil,' and 'Luke Cage' didn't even have a showrunner hired then. Jeph Loeb [Marvel TV boss] is the master of the connective tissue, but each series exists in its own world.

When you're writing you're constantly fighting demons to sit down and do what you do. If you listen to the voices outside your head, in addition to the ones inside your head, you'll never get anything done. There's enough inner strife.

With a film, you have to pare down and take stuff out and squish it all down into a 110 page script.