One of the things that's really fun to tap in with television right now is this sort of explosion, the peak TV moment that we're in, people are exploring different modes of storytelling here. But one of the exciting things here is being able to commit upfront to a big, big, big story.

I always love it best when you have a project where there is this commingling of the subject matter and the way in which you're recording that subject matter.

The thing about working on a TV show is that it becomes, very quickly, all consuming.

I don't think you can guess what people will really like. You have to come at it from a more natural place and then kind of hope that your taste is shared by enough people to keep going.

I've worked in the movie business for many, many years, where you have lots of days and lots of money. It's really mainly about time. We always try to conceive all of our action from a place of, "What can we shoot that looks fantastic?," rather than trying to do the kinds of thing that you would be able to accomplish in a movie.

I've always been interested in themes of memory, paranoia, and revenge.

Each week the machine is spitting out a number for a new person or a new world within New York that you get to know. And the idea from the beginning was that some of the characters would stick around and become part of the lives of the show, and the world of the show itself will continue to grow.