Having certain limits - not too many, but certain limits on an ability to tell a story - makes us work harder, me and my writers. Sometimes I watch a giant movie with a $250 million budget and I think they feel kind of bloated, and that if they'd been leaner and meaner they might've had better storytelling.

People want what they want, for as long as they want it, then tastes change and something else works.

Television is a great job for a writer in the way that movies used to be, way before my time. Back when writers in Hollywood were on staff or under contract at any given studio and you'd write movie scripts and then the movies would get made within a few weeks, such that you could be a working writer in the movie business back in the '30s and '40s and '50s and have a hand in writing five or six movies a year that actually got produced. The only thing remotely like that in the 21st century here in Hollywood is working in the TV business.

It's often the case with successful TV shows that they kind of inadvertently live on past their prime. It's best to leave the audience wanting more.

I'm not a big internet guy - not because I'm not interested in what people have to say, but probably because I'm too interested.

[Making meth] is a complex process. The truth of it is that we live in a post-Google world where you can find six recipes for meth in 30 seconds on a search engine.

It's weird how with a TV show, you don't have just the one ending - you have the many.