In all my shows, I'm not interested in the iconic shots of the Capitol and the Washington Monument and the Lincoln Memorial. I'm always interested in trying to get the culture of the place - trying to get it right.
I sold 'Time Life' books on the telephone. It's probably the only pure skill job I've ever had. When you're on and you're good, you get 'yes' after 'yes'. When you're slightly off, you get rejection after rejection. It was one of the greatest jobs I ever had. It was brutal.
I like shows that are surprising and not predictable. That have deep, rich characters that are fully formed.
One of the fundamental issues with The Vatican is that the world changed on us. That show was conceived and written while Pope Benedict was still in charge of the Vatican, and it was conceived in a world that now would feel very dated.
I actually have very girly taste in television. I like a chicky relationship show probably more than anything. I really like 'Project Runway'.
When it comes to storytelling, not taking risks is riskier than swinging for the fences. I have very simple ambitions when it comes to taking risks in storytelling and programming. I try very hard to avoid the expected.
I love being a producer, and I think I essentially still operate as a producer even though I now have control of marketing and the ability to green-light shows - something every producer wants but that they don't get!
The enemy of good television is boredom and predictability.
I have very simple ambitions. If I can just not be boring, I'm ahead of the game. It's hard in television. I think you get enormous reward from the audience. Just give them something they didn't see coming, and you get enormous points.
I like stories with a collision of disparate tones. Look at 'Shameless' or 'House of Lies'. They go from big, silly, and comedic to very real dramatic moments in the wink of an eye.
