Comedian

I really liked the idea of a talking horse in a human world.

I think '300 Arguments' is a real tiny wallop of a book. It looks very slim, and at first, each little two-sentence or one-sentence thing kind of stands on its own, but again, as you read it, you get sucked into the momentum of it, and the whole of it is much larger than the sum of its parts in a really beautiful way.

One of the things that set us apart early on, as opposed to other animated shows, was the fact that 'Bojack' was continuous and serialized.

When I write, I try to turn my Internet off so I can't procrastinate through the Internet, but then I just get deeply involved in whatever I have just on my computer.

I have a short attention span.

I was very moved by shows that combined things that were funny and sad. I remember liking 'Simpsons' episodes in which emotions were central.

I always think that's really lazy, when I'm watching a TV show or a movie or something, and there's a flashback and the idea is, 'This one moment is the reason that everything happened. This character saw this guy, and this guy said this thing to him, and that's why he is this way.' Because I think in real life, it's not so one-to-one.

There was a warm and encouraging environment at home. My self-loathing and neuroticism are not because of my upbringing.

I think I am someone who is very interested in structure and different ways of delivering jokes.

You're going to get different kinds of animation for different kinds of audiences. Traditionally, adult animation has been for the young male audience. There's no reason why that should be.

BoJack Horseman' would make sense in the world of 'Rick and Morty,' but it's hard to imagine Rick and Morty in the world of BoJack.

The nature of being an artist in any field, but specifically in comedy, is that almost as soon as you finish something you hate it, and it feels dated, and not your best work.

I'm excited when any Netflix show comes out. I'm like, 'Yeah, Netflix! Doin' great! We're all on the same side.'

I don't want the government to be censoring people, I don't think there should be censoring boards, but I think that means that we the artists need to be very careful about what we're putting out and what were saying and how we're saying it. And I don't think we're being as careful as we should be.

For a long time in my adolescence, comedy was the only tool I had for communication and dealing with the world and dealing with people - I didn't know any other lens in which to do it.

I was doing this really wacky sketch comedy but at the same time writing these dark, cerebral plays about characters coming to grips with their loneliness and heartbreak. My dream job has always been a way to combine the two. I would say 'BoJack Horseman' is the culmination of all of that.

I'd like to think that 'Bojack,' in some ways, pushes the edges of what some people think an adult animated show can be. That was an intention of mine while making the show.

I would like to see BoJack find some sort of peace. I don't know if happiness is the right word; I don't know if he deserves that... But I would like to think even a soul as lost as BoJack can somehow crawl his way toward redemption.

I thought it would be fun to make a cartoon about this sad, misanthropic horse.

In 'Bojack,' at least at first, we had to couch some of the sadder or weirder or introspective stuff we were doing in the costume of a typical adult animated comedy. With 'Undone,' it felt like we'd outgrown that expectation.