We're about to shoot an episode on Air Force One, for instance, and we're going to take liberties, small liberties, with Air Force One, as we take small liberties with our White House set.

It's important to remember that, first and foremost, if not only, this is entertainment. "The West Wing" isn't meant to be good for you.

Certainly, last year we did an episode about the census and sampling versus a direct statistic. You just said the word "census," and people fall asleep.

A news organization has a much different responsibility. I might not be telling you the whole story. I might not be telling you a story in a manner that is properly sophisticated.

Well, I must tell you I write the scripts very close to the bone. So I'm writing episode seven now and couldn't tell you what happens in episode eight.

Our responsibility is to captivate you for however long we've asked for your attention. That said, there is tremendous drama to be gotten from the great, what you would say, heavy issues.

There really isn't a story that you can't tell inside of it. It's very much a clearinghouse for anything that goes on in the world. So you're not at all limited.

We're about to shoot an episode on Air Force One, for instance, and we're going to take liberties, small liberties, with Air Force One, as we take small liberties with our White House set.

You know, one of the things I like about this world, or at least I like about the way we're presenting this world, is these issues are terribly complicated - not nearly as black and white as we're led to believe.

There's a great tradition in storytelling that's thousands of years old, telling stories about kings and their palaces, and that's really what I wanted to do.

It's populated by people who, by and large, have terrific communication skills. Every day is an extraordinary day. For me, it was just a great area for storytelling.

I grew up in the theatre. It's where I got my start. Writing a television drama with theatrical dialogue about the theatre is beyond perfection.

Any time you get two people in a room who disagree about anything, the time of day, there is a scene to be written. That's what I look for.

Good writers borrow from other writers. Great writers steal from them outright.

'Molly's Game' was a true story about a remarkable young woman named Molly Bloom. She was this close to going to the Olympics; she was ranked third in North America in women's moguls.

'Steve Jobs' is my seventh movie. I believe, if you added them up, I don't think there is more than a total of 10 minutes that takes place in a person's home. They're all in offices, courtrooms, laboratories, things like that.

All my heroes wore coats and ties to work. What happened to men wearing hats? Maybe I should bring back hats.

And my friends, you ain't seen nothin' yet.

As long as you keep one foot in the real world while the other foot's in a fairy tale, that fairy tale is going to seem kind of attainable.

But HBO is less interested in how many people are watching than in how much the people who are watching are liking the show. They didn't set up their business model to make writers happy. It's just a nice unintended consequence.

Certainly, last year we did an episode about the census and sampling versus a direct statistic. You just said the word 'census,' and people fall asleep.

Decisions are made by those who show up.

Don't ever forget that a small group of thoughtful people can change the world, it's the only thing that ever has.

Everything can be going well, but if I'm not writing, I'm not happy. When I'm writing well, I'm like a different person.

First scenes are super-important to me. I'll spend months and months pacing and climbing the walls trying to come up with the first scene. I drive for hours on the freeway.

Heroes in drama are people who try hard to reach a virtuous ideal. And whether they succeed or fail really doesn't matter - it's the trying that counts.

I am all for everyone having a voice; I just don't think everyone has earned the microphone. And that's what the Internet has done.

I am truly at my happiest not when I am writing an aria for an actor or making a grand political or social point. I am at my happiest when I've figured out a fun way for somebody to slip on a banana peel.

I am uncomfortable talking about the things that I write. It seems unseemly to me. I have no problem at all when I see anybody else talking about the same project, but I feel my work should speak for itself.

I consider plot a necessary intrusion on what I really want to do, which is write snappy dialogue.

I desperately need the love of complete strangers. That's one reason I overtip. I love when skycaps, waiters, and valets are happy to see me.

I do not diminish the incredible symbolic importance of a black man getting elected president. But my euphoria was a smart guy getting elected president. Maybe for the first time in my lifetime we had elected one of the thousand smartest Americans president.

I do not speak through my characters; it's not a ventriloquist act.

I don't have a great instrument. I don't have the kind of ungodly control over my voice and body that great actors have. And I've worked with enough great actors to know that I'm not one.

I feel like the better version of myself is on paper... I'd rather have people know me on paper.

I find television, and particularly live television, very romantic: the idea that there is this small group of people, way up high, in a skyscraper in the middle of Manhattan, beaming this signal out into the night.

I had a lot of survival jobs. One was for the Witty Ditty singing-telegram company. I was in the red-and-white stripes with the straw boater hat and kazoo. Balloons. Even when you're sleeping on a friend's couch, you have to pay some kind of rent.

I have a big problem with people who glamorize dumbness and demonize education and intellect. And I'm giving a pretty good description of Sarah Palin right now.

I have a lot of respect for people who are great at ad-libbing and for writers and directors who are able to create a scene in which that works. Judd Apatow is fantastic at it. But as an audience member, I like the sound of something that's been written - I like it to sound written.

I have all of the Apple products. Everything I've ever written, I've written on a Mac. My first computer, my roommates and I chipped in, and we got that first Macintosh - 128K. It had as much memory as a greeting card that plays music.

I like writing idealistically, romantically and swashbucklingly.

I love writing but hate starting. The page is awfully white, and it says, 'You may have fooled some of the people some of the time, but those days are over, giftless. I'm not your agent, and I'm not your mommy; I'm a white piece of paper. You wanna dance with me?' and I really, really don't. I'll go peaceable-like.

I spend most of my days pacing around, muttering that I have no ideas, feeling like I'm walking a plank.

I think I would have done very well as a writer in the Forties. I think the last time America was a great country was then or not long after. It was before Vietnam, before Watergate.

I think socializing on the Internet is to socializing what reality TV is to reality.

I'll get cast occasionally as sort of the jerk version of myself, and I have fun doing that. But it's really better for everyone if I stay behind the camera.

I'm more comfortable writing traditional protagonists. But 'Steve Jobs' and 'The Social Network' have antiheroes. I like to write antiheroes as if they're making their case to God about why they should be allowed into heaven. I have to find something in that character that is like me and write to that.

I'm neither a millennial nor a hipster.

I'm not sophisticated when it comes to politics, when it comes to journalism.