I love talent because they are passionate. They can be emotional and irrational and unpredictable... and that's okay, because all we want is something exciting on the page and on the screen.

NBC, for me, is like the crazy ex-wife that I can't get away from.

One of the things I truly enjoy about my job is the dynamic nature of having a foot in each world - the world of the talent, who create our product - and the world of our business in which we market, distribute, and monetize that product.

'Fringe' has been a point of pride. I share the passion for the show that the fans have.

How people watch and the different ways they connect to TV - you're going to see some expansion and radical transformation.

What the hell is pilot season? It's an artificial boundary that makes no sense, and it makes you do things under duress.

Creative content is challenging, no matter what, and animation is particularly challenging.

I do believe that the audience is capable of embracing quality. But a lot of times, they'll be like, 'Why isn't there ever anything good on TV? Put something good on.' 'Uh, if you watched this, it would help.'

You always want to trust talent; that's the best thing.

Trying to find big hits has always been a needle-in-a-haystack endeavor.

As the media landscape continues to evolve, 'Conan' will continue to lead the evolution of what a talk show will be in the digital age.

The way television is done, you're kind of set on a certain path, and then episodic directors come in every week to try to recreate that.

I always believe that if you stick with quality and give people a chance at the time, that people eventually get on board with it. It's been my experience more than not. Once in a while, there's a show that you just can't seem to break through on.

We're in the culture business. You are constantly monitoring cultural shifts, current events, shifts in mores, things that reflect society, and, at times, we try to drive it.

Narrative storytelling is wired into our humanity.

I love my job, but I'd really love my job if I didn't have to live and die by ratings every day.

It's really the rare creator who can tell you where he's going to end the season of 22 episodes. That's not bad. That's part of the creative exploration.

Producing a one-hour show that has to reinvent musical numbers, and interpret those musical numbers with a large cast, is difficult.

Nobody watches commercials if you ask them. Nevertheless, they watch commercials.

When you get these franchises with some built in profiles and anticipation... I think the anticipation and the buildup can can exceed the delivery.