We've actually bought quite a number of historical pieces. We are doing a piece on the abolitionists, Harper's Ferry and the abolitionist John Brown with Paul Giamatti.

It's not that writing staffs don't change at all, but they don't change very much. Directors are freelancers. There are directors who do five or 10 episodes of a show every year for years, but most directors are freelance, they come and go.

There is a privilege in American society to being male and being white, and I think it's hard for white males to understand that privilege, because we've never experienced the opposite. When I sought out mentors to try to move forward, there were white males in virtually every position from which I was seeking mentorship. There was a natural simpatico or natural comfort. And so if you believe that's true, and I believe it's true, then we have to change that. We have to try to equalize opportunity and privilege.

I think the possibility of continuing on a comedy is greater than a drama.

We've actually bought quite a number of historical pieces. We are doing a piece on the abolitionists, Harper's Ferry and the abolitionist John Brown with Paul Giamatti.

We also have a piece about the Mayflower, but it's just a very different, very gritty, very character-driven version of why those people were on that boat and what the experience was like for them, emotionally, physically and spiritually, and also the Native Americans and what the state of Native American society was at that time.

I believe really deeply in the pilot process because you learn things about tone and casting.