I love the idea of modern art in a home that isn't totally modern. There's a certain energy that comes out of that juxtaposition.
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In the moment when you're doing a show, you're thinking of that moment, but you don't think of, 'Here's down the line how people will be relating to the characters.' There's something very universal about 'Sex and the City' that people are still tapping into, where every generation seems to be discovering for itself.
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I think people have this sort of idea that 'Sex and the City' was this overnight sensation, and that can't be farther from the truth.
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Cable's on fire. Traditional broadcast TV's hearing a death knell. I sample as much television as possible. I like 'Homeland,' 'Game of Thrones,' 'Veep.' Now reinvention's important.
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In general, I think writing characters, no one is 100 percent good or bad, and certainly, the bad characters never think they're bad themselves. Even the worst characters don't feel like they're bad guys on the inside.
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The idea of viewers getting invested in a series is that you're getting invested in the reality of these characters' lives that, in fact, don't have an ending.
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I never did theater. I was a theater major at USC my first year because I didn't get into the film school. I was biding my time, hoping to be accepted to film school, and I ended up transferring to UCLA my sophomore year.
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Adversity creates comedy.
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I grew up feeling Israel is very important, and I'm very supportive of Israel. At the same time, I think you can be really supportive of Israel and not look at it as a black-and-white situation.