D. B. Weiss

I don't know how people do this job collaboratively if they don't really get along. You're spending all day every day for months and years on end with somebody.

After you do this for a while, you get used to things not working the way you want them to. There's a job you want, and you don't get it. There's a movie you'd like to get made, and it doesn't get made. You become inured to it.

If a superhero knocks over a building, and there are 5,000 people in the building that we can presume are now dead, does it matter? Because they're not people we know. But if one dog we like gets run over by a car, it's the worst thing we've ever seen. I totally understand where that visceral reaction comes from. I have that same reaction.

We know that the elements in play in a show like 'Confederate' are much more raw, much more real, and people come into them much more sensitive and more invested, than they do with a story about a place called 'Westeros,' which none of them had ever heard of before they read the books or watched the show.

Being away from home for six months of the year and seeing your kids grow up on Skype all that time - I think I saw Molly walk for the first time on Skype. That's not good.

You realize, no matter how great, books are not shows or movies; each operates on their own different rules. 'Game of Thrones' is no different. Being forced to come up with those scenes on short notice helped how we were viewing the show and forcing it to come into its own.

We've learned a lot about how information needs to flow effectively amongst a group of people. They need to be fed information, and it needs to be on this constant conveyor belt.

One of the trickiest things about 'Game of Thrones' is just seeding those first couple of episodes with that basic information that people need to know, both about the world and the ground rules of the world, and the relationships between the characters, as far as who means what to whom and why.

The Classic games were Classic because, like classical music or architecture, they strove to give life and weight to ideals of order and proportion, to provide a vision of timelessness. In 'Double Dragon,' we can see the cracks in the brick, the mold growing on the drainage pipes, the unmistakable deterioration of the world we live in.

Fantasy is sort of a blank slate that everybody can project their own culture onto. Everybody can read it in their own way.

Who doesn't love 'Frogger?' It draws its power from our shared memories of powerlessness. Wherever we are now, at one time or another we have all felt the poor frog's anxiety in the face of the world's intransigence, its blind and callous disregard for our happiness or well-being.

I think the main reason is that people binge watch because they can. We're like dogs, really. If we like something, we tend to gorge ourselves on it until there's no more left. And as bingeing becomes possible and commonplace, it's only natural that shows should start to take it into account.