The hunger for knowing is what excites me. I get to geek out about editing, be on set, give notes to writers - I love it all.

The best part of my job is that we can be making shows like 'Boardwalk', 'Thrones', 'True Blood' but also female-centered comedies like 'Enlightened', 'Veep' and 'Girls'.

You have to be a strong advocate of the shows you believe in. Sometimes those skills are very similar to agenting.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

I really believe that if you're going to bring a child into the world, it's your job to parent that world. Especially if it's just you; you don't pawn her off on somebody.

But this is called show business, not show family.

Feelings of worth can flourish only in an atmosphere where individual differences are appreciated, mistakes are tolerated, communication is open, and rules are flexible - the kind of atmosphere that is found in a nurturing family.

Because I didn't have brothers, I was always interested in the kids down the street that had four brothers in their family, so I became one of them - but it was not my family. I've always been attracted to temporary families. They tend to be lost characters.