AA: You’ve written successfully for television (as well as for radio) many times, but I know that some of the projects you’ve worked on have failed to make it to production. Has this been hard to deal with, especially if you’ve invested a lot of time in them?
SG: I could run my own channel with my unmade projects, but you have to take a long view. Especially in British TV, where everything moves so slowly that you can hear your own hair grow. I will say that I love the American system, which is brutal, fast and full of energy. Even if you have a near-miss, you know you’re playing a championship game. Last year I had a spec TV pilot that sold to ABC Studios. We cleared all the hurdles and just needed the network president’s nod for a straight-to-series order. At that point Spielberg offered him a show, and he handed over the slots that we’d been lined up for. That was hard. But you bounce.