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

You read these stories of people who were in Hollywood in the late '60s. After they found out about the murders, everybody was like, "Have you met [Charles] Manson? Have you been to that ranch?" In some way, everybody felt connected, but what was it like for people who really were connected.

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.

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.

I really feel like I could do anything if given enough time.

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.

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.