I have a lot of affection for those old shows. You can put on an episode of 'Full House' or 'Family Matters' or 'Growing Pains' now and I'll watch it. And I'll totally enjoy it.
I think some actors are very smart and have the tools. They know how to disconnect themselves from the characters, but I think for a lot of them, it's very difficult.
I think we're so often, as writers, afraid of writing something that is less than perfect, and that fear paralyzes us. I'm a big fan of writing less than perfect things.
There's a widening of an idea of what a TV show can be or how it can be told, and that's partially in the diversity of the creators and the stories. Because there are so many new networks and streaming services popping up every day that need more content, there are more opportunities to take risks.
I think you need to think of yourself as a flawed human being with aspirations for goodness and never start to think, 'Oh, I am a good guy. These other people are bad guys. They're dumb, I am smart.'
It's much easier for me to think in terms of character movement and emotion and story rather than, 'What are some wacky hijinks we can throw together?'
I - you know, I know almost nothing about sports. So whenever I hear anything involving sports, my go-to move is to kind of nod and agree.
The caustic style of 'Archer' was really on my mind when I was first doing 'BoJack' - perhaps too much!
Whenever I talk about how good season two of 'The Comeback' is, people ask, 'Do I have to see season one?' And I say, 'You get to see season one.'
Art is a dialogue. I'm throwing rocks across a chasm and hoping people catch them on the other side.
What I also love about Lorrie Moore stories is they take me a long time to read. They're not easy for me because each sentence, I feel like, is so rich and dense, it just sends me off in a thousand directions.
It's something I've seen a lot of: these tortured geniuses, or self-proclaimed tortured geniuses, who kind of take their damage out on others. I think being a showrunner, you have a lot of unchecked power and I think that can be a very dangerous thing.
When you surround yourself with white people, you continue to hire white people, and when you make an effort to hire people of color, that does bring in different stories and different people.
Any show that kind of relish the damage of its main character without really investigating what that damage does, where it's from or what it means, is a show I think needs to be taken down a peg.
A lot of the hesitancy to talk about the industry in real, concrete terms is not because of people being afraid of biting the hand that feeds them, and more about the fear that people in the middle of the country will not be interested.
Part of being a writer is just getting it in your bones, getting the muscle memory down, just doing it.