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Pilots are so hard because you have to introduce all these characters, you have to hook an audience, and an audience has such a smaller attention span than maybe they used to have.

There's this funny thing with pilots that you have to sign the contract to do the whole job before you're even offered the part. And they make about a million pilots a year, but hardly any of them get turned into series.

For someone making a pilot, assuming the talent is there and you can maneuver the system properly, it's just a matter of standing your ground and trying to make something great until you are making enough money for the studio that they let you keep making it.

Pilots, to a large degree, are like salesmen. They have to be confident to be good at their jobs. They have to practice relentlessly and plan out all the scenarios of the things that could happen when they're out there. Nothing is more important than preparation. They are also mighty competitive, both as individuals and as squadrons.

It is cool to make a pilot because you get to do all the fun stuff, and then you get to leave when all the tough stuff starts.

Every pilot thinks they're the best pilot in the world. I think I'm the best pilot.

Pilots take no special joy in walking. Pilots like flying.

Oftentimes, you read these pilot scripts that come through for American work, and they don't sing to you. I've got to be honest, not many of them ignite the flame or give you that burning feeling of, 'Oh, God, I really want to be a part of this.'

Each generation of pilots hopes that they will leave their profession better off than they found it.

Most of the pilots I choose do not have high-concept ideas, so for me it's not the idea as much as the execution of the idea, and if the idea, like you take a bar in Boston, that's not a high-concept idea. But if it's executed well, it makes a great show.