You can work on a movie for years, and you won't know until you show it to an audience for the first time if it makes any sense to them at all, if they're touched, if they find it funny, so it's endlessly exciting, because failure is just right there all the time, and your chances of success don't rise that much based on the fact that you succeeded last time.

That's very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.

Watching shows on Netflix is a different experience because most people are sitting there for three to five hours. Very few people even watch one episode. So it's not like a movie theater where you want to the movies to be shorter so you can go urinate. You can pause and urinate at home, and if something is longer, you're allowed to stop and eat breakfast and then watch eight more episodes.

It's what I always dreamed of: that you can make TV and everyone would get out of your way and you follow your vision without watering it down.

People talk about universal intelligence ... I'm reticent to believe almost anything, just because my parents weren't religious at all, but that's when I feel it. People talk about being in the "flow."

You should look up some of the reviews. The New York Times review is so over-the-top funny. It's hysterical. You should dig it out.

I was a guest on Comedians in Cars Getting Coffee with Jerry Seinfeld, and I interviewed him when I was 15 years old-those moments really blow your mind.