I don't think I ever had any relationship with any showrunner, over time, with whom I didn't have conflict.

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.

Not ever having been an agent myself, my sense is that upper-level agents who have the most power, who can move people through the system more easily, are less willing to take on the volume of work to break somebody new. And then lower-level people, if they are willing to take on somebody new, they don't necessarily have as much sway, and it's harder for them to push somebody through.

There are no characters in the limited series Fargo that are derived from the characters in the film Fargo. It's hard to describe how remarkably true to the film the show is.

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.

It's easier to solve the problem more quickly with directors than with writers.

For me, personally, I'm more comfortable with what I would call third-person entertainment, meaning watching a character that's explicitly not me and experiencing something through a character's eyes, than what I would call first-person entertainment, which is a video game in which I am the character.