I think the best work flows out of a collaborative environment.

The thing that always interests me from a storytelling point of view is how that moment of trauma, whatever the trauma is, even divorce, your dog dies, whatever it is, the consequence, in terms of people's emotional lives and the way it resonates behaviorally for a long time is really the stuff that interests me.

Casting is sort of like looking at paintings. You don't know what you'll like, but you recognize it when you see it.

When it is perceived that a show has gone awry, the pressure is staggering, and as a writer caught in that storm, it feels like you are being attacked by jackals.

The entertainment world, television, movies, social media, YouTube stuff, we're so bombarded with so much imagery and such a great sense of inhumanity, and there is a coarseness, a coarsening of interaction.

If bad taste were a felony, every writer I know would've done prison time.

Hill Street Blues gave me an opportunity to work with an ensemble cast of people whose work I admired.