To me, Los Angeles and California and executive power are about big, open warehouse buildings. Tech companies are buying oversized buildings, because they project growth immediately.

In New York, it's a little bit more formal, a little bit more decorated, and there's a real appreciation for traditional style. Out here, it's casual, fresh, new, and almost humble.

I'm 36, and sometimes I'm working so hard I don't realize how much I've gotten done.

The word "budget" is the idea-killer. It slaughters any idea.

There was a period there where I was like, "No, no, no, this is crazy. I don't want to take any more drawing classes and talk about what looks best. I want to study math and psychology and physics and all these nerdy things with computers." That was fun and great, but that didn't work out. At the end of high school, I was like, "Uhh, what's easier? Drawing is easier, I'll do that".

I treat every show, every production, like its own individual human organism that's grown up in a certain way, and they all have crazy habits and do different things.

If you look around anywhere, layers are an important part of, not just the story and the concept, but the world you're in. If you just turn around and look at your office door, there's a door, and there's something behind it.