In terms of the way the industry operates, the studio system was such its own thing. It's so different now that it's a globalized world.

The stuff that I've been doing lately is political. It's not always about people who are super famous movie stars. The fact that people are still taking a chance and listening to the blacklist episodes is really exciting.

There's a fantastic, thousand-page book by David Thomson about [David O. Selznick]. Again, it's not the best argument or the best advertisement for his story, because most people aren't going to read a thousand-page book. But I feel like the rise and fall and the work [Mayer] produced - not just the movies, but the memos, the volume of writing - he's just so passionate, and that's really exciting.

As a performer, I could be like, "I don't want to leave that in there." But as a producer, I have to leave it in there.

In terms of the way the industry operates, the studio system was such its own thing. It's so different now that it's a globalized world.

I just think the David O. Selznick story is one of the great, epic stories of Hollywood history that nobody knows. Maybe one of the reasons why nobody knows it is because he wasn't a movie star.

I think, because it's one of my favorite moments in [Charles Manson's Hollywood]. That series got a lot of attention and people talk about it a lot, but they tend to focus on the episodes that have more to do with the murder, Charles Manson doing something particularly weird, or Sharon Tate.