When I was growing up and watching 'The Sweeney,' the notion of police officers being an inch away from the villains that they're chasing was commonplace.

The State Within' demands a certain intelligence from its audience. It doesn't just wash over you - it asks for commitment. And that's a really good thing.

I'd really like to go Sydney. I've been to Australia a few times, but I have never been there.

I'm not setting 'Jericho' up to be anything other than what it is, which is, you know, a piece of good, well thought-out, well put-together TV and entertainment.

I've never been a frustrated person because I learnt at a very young age that the frustration I had inside of me had to do with creativity and the ability to transform that into action. I realized very early my restlessness had to be channelled into things I could do.

I didn't know the term 'synesthesia' until I was working on 'Cruel Summer.' Halfway into writing that, I really understood that, my entire life, I had been trying to describe this condition of mine: through painting, through this seven-screen Surround Vision film we shot in Qatar, through all these things.

To a certain extent, just like my children, I nurture my writing until the point when it has to get out and face the outside world, where it takes on a life of its own. That is a purpose of any artist and their art.

I grew up painting and playing piano so when I was a little kid I thought I was going to be an artist or a painter but my mom had me taking piano lessons for about 10-12 years as a young kid.