Amanda: I guess if you can have faith you can’t just have it when the miracles happen. You have to have it when they don’t.
I’m going to take care of you. I gotcha. Because that’s my job, right? Taking care of my pain in the ass little brother.
Television showrunners are a foolishly optimistic bunch.
It’s hard asking someone with a broken heart to fall in love again.
I’m not a fan of endless mystery in storytelling – I like to know where the mythology’s going; I like to get there in an exciting, fast-paced way – enough that there’s a really clear, aggressive direction to where it’s going, to pay off mystery and reward the audiences loyalty.
It’s hard to make a lot of pop culture references where there’s no pop culture.
Every so often, you want to map out your plot mythology but never so specifically that you can’t let a story surprise you. You want to allow the type of action of the writer’s room so that you have the ability to take a left turn.
When you start a show, the plans are not set in stone. They’re really mutable, cocktail napkin sketches.
People simply don’t make eye contact anymore.
People love a good mystery; I understand that.