You set up the look, the visual effects and the sets, and that's awesome, but I enjoy the casting most of all. That's where you really get to define the show.

If you look at Hollywood today, compared to five years ago, 10 years ago, 20 years ago or 30 years ago, the change from moment to moment has always been extraordinary. It never stops moving.

It's a world creation show [Shadowhunters], so we've gotta work hard in the physical production capacity with the visual effects, the sets and everything. It's not just the real world with two people chatting in a diner. That's tough on a television budget.

Sometimes when you have an abundance of time and money, it's less conducive to the creative process. I like the urgency of the television schedule and the television price point. It's fluid. You figure it out on the day, and I love the challenge of problem-solving.

When you're a producer or director, there's so much sweat that goes into any given project.

I do my best when I'm surrounded by women. I enjoyed that on the Charlie's Angels experience.

It's just a wonderful experience and it's fun when you make a film and people go to it to emote and in my picture you hear the audible sobbing and then you hear the audible laughter and then you see people leaving the theater with a little bit of spring in their step. It's just great to be part of one that lasts a long time.