We try to make each situation specific to the person. At the beginning of the season, we come up with, like, 50 to 100 ideas, which we workshop and then we call around to see who is interested in doing something like that. Once we find the people, we make the bid specific to them. A lot of it is about where you can get people to go physically, which is a little tricky because most actors and musicians are kind of hermits-they like to stay in their houses.

I think people know Steve Jobs the showman. I think people know the guy who stood up and gave the keynotes. The magician. The salesman.

I wouldn't say I'm personally trying to transition from comedy into drama. I don't look at things like, 'Oh, I need to do a drama now.' I get a lot of material sent to me, and if I feel like something has the creative integrity and the right director and the right whoever involved, the right actors and is a great story, then I do it.

I'm serious when I'm talking to the press because I'm always on guard because I never know what you're going to ask and I never know how you're going to construe my answer, so I try to maintain a pretty even pace when I'm speaking with the media.

I'm very tech-forward. However, I also think hitting the pause button is not a bad thing, and really connecting with people one-to-one viscerally, having a connection with someone, is really important.

I try to make good decisions as decisions come up.

I don't believe that old cliche that good things come to those who wait. I think good things come to those who want something so bad they can't sit still.