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.

Hollywood is really weird to talk about in this monolithic sense because it's this microcosm of anywhere. It's full of a lot of people who have different intentions and different points of view.

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.

If you look at pictures of David O. Selznick , he wasn't even attractive. There's no way to portray him in a way that is glamorous, but that's one of the things that's fascinating to me about him.

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.

The thing that breaks my heart about [Dennis Wilson] is that he was very naïve from the beginning to the end.

Between the action sequences, the pleasure lies in observing impeccably dressed Brits exchanging barbed witticisms - making it, basically, Downton Abbey with cyber crime and shower sex.