Sometimes the guys who run the visual effects shop will bury it in and not tell us. We'll be in the middle of the edit, watching it for the fifth or sixth time, and we'll be like, "What's that big W on that building? I don't think we can do that. We haven't asked DC." And then, they take it out.

Sometimes the guys who run the visual effects shop will bury it in and not tell us. We'll be in the middle of the edit, watching it for the fifth or sixth time, and we'll be like, "What's that big W on that building? I don't think we can do that. We haven't asked DC." And then, they take it out.

I would be Jesse Martin ..., but not to be his character, just so I could be Jesse Martin and sing like Jesse Martin for a day.

I think in television there's more of an awareness about a need for more diversity, but there still needs to be great practical strides taken to improve diversity in front of and behind the camera.

You want to go to a place where you work every day, where you get to tell stories that look and feel like the audience in America that are watching. You're really limited, if you walk into a room and you can just tell stories about that. So, we've been really blessed.

There's even more blending of genres happening. They blend sci-fi with action, or family drama with a mystery show. People don't want to just do the same thing that everybody's done a thousand times before, and that's probably a big part of it. I think you're also seeing television and features speak to each other. You see it happen in movies, and it starts to get reflected on the small screen.

Fan feedback going from a box of letters once every few months to literally tweeting while the show is airing. We are able to get a much quicker response to the choices we're making as storytellers.