Just to clarify the division of labor on the show, I write the show and Alan [Poul] does everything else.

Television from its inception had the number one goal to alienate as few people as possible. That's why if you look at 1950s, 1960s American sitcoms, the characters don't live any place in particular, religion is never discussed, politics is never discussed, you never really know what anyone's job is; nothing that could make these people seem different from you is ever discussed.

I have a lot of respect for people who are great at ad-libbing, and for writers and directors who are able to create a scene in which that works.

I like workplace shows and White House was a very glamorous workplace to set a show in; it appealed to a sense of romanticism and idealism that I have.

Rule of storytelling: When a character is shoved against a wall, shove them against a wall harder.

The stuff that I write doesn't work very well as background music. You have to watch it from beginning to end and pay attention as if you were watching a play.

When I was a kid, I wanted to be an actor. I was acting in all the school plays. I went to school for acting. I was really sure that that's what I wanted to do.