There are story-room sessions where you think about the big picture, like a novel, but once you have certain things in place, you have to treat each episode like an hour of TV, and think that maybe this will be the only episode that anyone will ever watch. You want to have some sort of beginning, middle, and end to the episode, even if you have storylines that are carrying over. You still want it to feel like a cohesive hour of entertainment. And you can't think about both at the same time.

I'm very humble in terms of knowing that television is an extraordinary collaborative medium and that one person alone cannot make a great TV show.

I always think it's better to take your time and go through a lot of ideas - and dismiss a lot of ideas - before figuring out where to land. It's a good way to care for your audience, too. If you spend hours and hours and days and weeks coming up with the ending, then there's a chance the fans won't figure it out on their own.

There are certain economics involved in making a network TV show that you want to amortize the costs of that, so the more episodes you make, the cheaper they all are individually.

Everyone in Hollywood who is successful becomes less successful at some point. I'm just trying to delay that fall for as long as I can.

I think the bar is higher these days in terms of audience expectations of authenticity.

Working as a showrunner has made it tougher to watch other shows and movies.