Tragedy is a great storytelling form. It worked extremely well for Shakespeare. It worked extremely well for Jim Cameron with 'Titanic.'

The creative process is not like a situation where you get struck by a single lightning bolt. You have ongoing discoveries, and there's ongoing creative revelations. Yes, it's really helpful to be marching toward a specific destination, but, along the way, you must allow yourself room for your ideas to blossom, take root, and grow.

The job of being a television show-runner has evolved and there's all these new aspects to it. It's good because there are additional avenues open for content. We have ways of expressing ideas we have for the show that wouldn't fit into the television series. But it's hard to manage our time. And we honestly put most of our time and attention on the show itself - that still is the bread and butter of our existence.

The genre aspects of the show are cool, and we have fun doing it. But I am much more engaged by the people on the show, and I think that is fundamentally what we try to do.

This idea that you can watch a show like 'True Detective,' and it was awesome, but is it really ruined for you if the finale is not your favorite episode of it? It's just odd to me.

By coming to an agreement, the quality and integrity of the stories we tell in this new medium will be consistent with that of the network show.

In Hollywood, there is no bigger commitment you can make than to a TV series. Even marriages pale in comparison. Marriages don't require signing iron-clad multiyear contracts. At least, most first marriages don't.

I'm a big baseball fan, and I feel proprietary about the Dodgers. I'm not the owner. I'm not the manager. But I feel passionate about the decisions that they make, and I take it personally when they make decisions I don't like.

That is very much going to be at the forefront of all the new labor negotiations, particularly with the Writers Guild, because writers are at the center of television series production and all of these new ideas are ultimately writer-based. Right now, our involvement in this is about being involved in the cutting edge of these emerging technologies and learning how it works.

The most difficult story that I've ever been involved in breaking on any of my shows was 'The Constant' episode of 'Lost,' which was when Desmond was consciousness-traveling.