I believe really deeply in the pilot process because you learn things about tone and casting.

I think maybe the most important thing that I or anybody at my company and any of my colleagues can do is establish a trusting, productive, collaborative relationship with creative people.

If you think about how broadcast mini-series approach historical events, there is a hagiography. There has been a soft, very glossy idea about history. And one of the things I like about Game of Thrones, for example, is just the grit and the authenticity.

We've actually bought quite a number of historical pieces. We are doing a piece on the abolitionists, Harper's Ferry and the abolitionist John Brown with Paul Giamatti.

The amount of competition is just literally insane.

We also have a piece about the Mayflower, but it's just a very different, very gritty, very character-driven version of why those people were on that boat and what the experience was like for them, emotionally, physically and spiritually, and also the Native Americans and what the state of Native American society was at that time.

I think a shotgun or a handgun that has a six-round clip is a very good, perfectly adequate weapon for self-defense, in the home. You simply can't create that kind of mayhem, if you have to reload.

It's not that writing staffs don't change at all, but they don't change very much. Directors are freelancers. There are directors who do five or 10 episodes of a show every year for years, but most directors are freelance, they come and go.

I don't think I ever had any relationship with any showrunner, over time, with whom I didn't have conflict.

I read every draft of every episode of every series produced at FX.