Your TV work has been almost exclusively on broadcast shows. How do you like working on cable?
The pace of it is more like working on a film. It’s like working on a long film rather than a TV show. Just the nuts and bolts of it — we would shoot a 63- to 65-page script on Fringe, with car crashes and stunts and special effects, with multiple characters, in eight days. OnThe Affair, we have eight days to shoot a 55-page script that is mostly people talking. You can take the time and you have the opportunity really to dive into things, and you’re only doing 10 episodes. This is why cable consistently beats the pants off of broadcast in quality, frankly. It’s the human element. You can’t work 14-hour days for nine months and be as sharp in all of them. By doing only 9 episodes in the first season and the pilot, by the time everyone’s getting tired and worn down, you’re finished, which is amazing. The major difference is just the focus is on quality and attention to detail, rather than simply finishing and keeping going.