Creating things sometimes is difficult.

Our D.V.R.s make up the schedule of the shows that we're passionate about. You want Jon Stewart? You've got it. Your D.V.R. will give that to you, as opposed to making the destination and the choice to spend that evening with a network.

Read everything. Watch everything. Know your business. It's the squeaky wheel that gets the attention.

It was absolutely outrageous, it was smart, it was funny. When they said what the subject matter was, I said, 'Oh my God, how can they do that?' And they did - they pulled it off.

What Must-See T.V. was all about was one network, one night, for one decade. And a third of the country would come and watch Must-See T.V. And you didn't dare go to work the next day, because if you hadn't watched, you would be left out of the conversation, that water-cooler conversation.

I think if you're not comfortable with change, you're in the wrong business, ... It's all about change.

Now, she blows away people with her talent. But first, she had to get to know the business.

My last series was on A.B.C., a one-hour called 'My Generation'. Critics liked it. I was on for two weeks, and that was a tough one.

When we developed the 'Seinfeld' show, we took a bet on Jerry Seinfeld, who was not a household name. But Jerry had a voice. He was appearing on 'Late Night', on 'The Tonight Show', had some commercials out there, his voice of observational comedy, looking at the world around him, that voice was really starting to come into its own.

One way in which 'Friends' did resemble 'Seinfeld' is that it really found its audience over the summer of 1995 in reruns. That's when the main title song, 'I'll Be There for You', by the Rembrandts, exploded, too.