Series finales have that responsibility to leave you feeling good about entire series. You want to feel like the viewer closes the book satisfied. And if you strike out on the finale it skews how you feel about the entire series.
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There will always be economic pressure to make hits, identify hits, and then exploit hits. And you're going to exploit them with as many episodes as you probably can.
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I was never that kid who grew up in New York and was always at the arthouse watching important films. I was the kid who grew up in the Midwest where there weren't any art films, and I watched TV. And that was really the medium that affected me and that I fell in love with.
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One of the tricky things about running a TV show is that you just never know how good the guest stars you cast on a weekly basis, how good they're going to be in the episode. Sometimes they surprise you in good ways and sometimes they surprise you in disappointing ways.
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TV is just such a fast-moving medium that you do what you can do, and what you can't do, you don't worry about too much.
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I've worked in network and cable on and off for a number of years, and you just understand what your parameters are. A lot of times, I think the best work that my team has come up with comes from having to deal with certain boundaries.
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I don't want my writing to be so unique that when you apply it to different genres, it seems like the previous show that people know you from.
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I would say on a creative level I put a lot of pressure on myself.
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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.