I'm not crazy impressed with New York. I mean, I don't buy into that whole thing: Everyone in New York is all sophisticated, and they're into art and sophisticated things, and everyone in L.A. is just shallow entertainment people. I think people are just shallow across the board.

I don't know what the future holds. It seems to be going in a really bad, bad place really quickly, and I don't have the answers and I don't have the solutions and I don't know what's gonna happen to change it. But the continued apathy will only lead to a worse situation for everybody.

I think there's a lot of good and bad to L.A. One of the things you have to consider is that you can, if you're lucky, make a decent living here. That's a big plus. That's pretty positive. The weather is OK.

I think revolution is always a little bit possible. I think it won't look or sound anything like what we would expect. But I think revolution is very difficult, and I'm not optimistic for any kind of dramatic change.

We have to confront the very scary fact that the president is a moron. He's really dumb.

I think that's always been part of the thinking behind the script, that - and I really tried really hard to impress that upon the staff of the show, the animation staff - to try to get them to understand that we would only be able to get away with what we were writing if the visuals were appealing enough that it was like a balance, and even people who didn't like what they were hearing would still not want to turn away because what they were seeing was so nice. So that was kind of my hunch, and I think it worked.

When the news is slow, or when there's just so many other responsibilities bearing down on me that I don't have the time to do it right, that's when it gets frustrating. As an artist, you just don't wanna put bad work out. So when you have to do it seven days a week, you're just gonna have some bad days and bad weeks and bad months and bad years.