Joshua Brand

On his early life and influences; on television shows he watched growing up; on books he read while growing up, and on starting his writing career

On getting into writing for television; on how he supported himself while he was trying to be writer

On being hired to write for The White Shadow; on writing for Operation Petticoat; on his experience as a grip

On being hired by John Falsey to write for The White Shadow; on dividing responsibilities for writing The White Shadow, and on the process of writing episodes

On how St. Elsewhere came about, partially inspired by Hill Street Blues; on the pilot for St. Elsewhere, and on leaving the show after one year

On summing up The White Shadow, and working with Thomas Carter on the show; on doing research for St. Elsewhere, on the pilot for the show, and on working with Bruce Paltrow

On developing and writing Amazing Stories for executive producer Steven Spielberg; on being fired from Amazing Stories after one season, and what he contributed to the development of St. Elsewhere

On his having left St. Elsewhere after one year; on creating and writing A Year in the Life, starring Richard Kiley, and on working with director Thomas Carter on that show

On developing and writing Northern Exposure; on writing the pilot for Northern Exposure, and on his writing process with writing partner John Falsey

On the development of Northern Exposure as the series progressed, on the show's popularity, and on being involved in advertising via CAA for Coca-Cola; on his freedom in writing Northern Exposure , and leaving the show after five years

On casting Northern Exposure ; on creating I'll Fly Away and Going to Extremes, and on juggling the shows with Northern Exposure

On leaving Northern Exposure and David Chase taking over, and on ending his partnership with John Falsey; on his great success in the television industry and on dealing with censorship issues

On Rob Morrow's contract dispute during Northern Exposure, and on the show after he left; on the music of Northern Exposure; on the process of how a script came together for Northern Exposure and for The Americans, and how his writers rooms work in general

On his personal writing process; on dealing with writers block and on the general process of writing; on what he loves about writing

On advice to an aspiring television writer, and on dealing with studio politics; on his greatest professional achievements, and on doing research for Northern Exposure; on getting the Writers Guild Paddy Chayefsky Laurel Award for Television Writing Achievement with John Falsey, and on his feelings about the Writers Guild

On the "new" Golden Age of Television, and on the politics of the television industry; on how he'd like to be remembered; on then-current projects, on selecting projects, and on The Americans