AMY SHERMAN-PALLADINO

When you write for a show that's not yours, your job is to hear the voices of the characters and write as best you can for those voices.

I think music on television is just uniformly dreadful. It is mundane, it says nothing.

The thing about 'Gilmore Girls' is that it's such a specific voice, and I lived with it for so long before it got on the air It's a very specific rhythm and a very specific banter.

To me, crazy is not someone who has a creative vision and will fight for it.

I don't go on the Internet. I never go on the Internet. I don't go on Twitter. I'm not on Facebook. I've seen friends go into dark, dark holes of sadness because of that. Frankly, I don't have the time or the attention span for it.

I like a certain style of show, I like a certain pace, I like a rhythm, I like a lot of comedy in with my drama.

As a writer, all you want to do is write for great actors. That's all.

I think I would be making a mistake to actively try and just do everything completely different from 'Gilmore Girls.'

Well, I took ballet for many, many years, so my whole childhood really revolved around dance class. I grew up around dance; my mother was a dancer.

If we based everything in Hollywood on who was a nice guy, holy moly, we would have no movies. No actors would work. This is not an industry that is ruled by kindness and generosity.

No one in my writers' room can wear sweatpants.

Every pilot I've ever written, I've fallen deeply and madly in love with. It's the only way I work.

You simply cannot do a sitcom by committee. It will not work. You've got to have one or two clean, creative voices in charge, and there's got to be some faith by the studio and network in those people to make the right choices.

I grew up where my parents would literally shove me in the car rather than have to say hello to a neighbor.

The dance world was a big part of my growing up.

With a sitcom, everyday you do a run through, and people are judging you, and the scripts are being changed nightly, nightly, nightly.

I think every writer has got to direct. If you don't direct, you can't protect your work. The only way to ensure that it's going to be as close as possible to what you put down on paper - and what you see and hear in your head - is to do it yourself.

Well, I have no time for therapy.

Families can be the most detrimental things to have in your life. They are sometimes the most poisonous relationships that people have. Sometimes family is the thing that keeps you from ever achieving what you want to achieve, and yet people hold it and hold it and grab it and try to fix it and twist it and turn it.

People have nannies and big cars, and they want to go to Maui for Christmas. When there are those kind of stakes involved, people get ruthless.

You can have a good moment with a parent you are estranged from, and you have a great moment, and then the next time you see them, everything's back to the way it was before and you guys are throwing knives at each other.

It helps, if you've directed, to be able to write a script that is director-friendly. You're really telling them [directors], "This is how it works on this show." It takes some of the guesswork out of it.

I don't begrudge anyone else for anything, but to me, I think the fans deserve to have a studio put money behind their product because when the fans put money into a project and it makes any sort of money, it goes back to the studio. I think that's a little shady.

Gilmore Girls was the highlight of my ridiculous life. I can't wait to sit with these unbelievable broads and relive a time where sleep did not exist, where stress and coffee were mama's little helpers, and where we all dove into the deep end together to make something weird and very, very cool.

You've gotta have a path [in your life]. And then, within that path, you have to be flexible. When things aren't working, you've gotta cut bait and find something else, but if you don't have a path, you're just dead.