I really gravitate to the comedy of tonal contrasts. I hope that doesn't sound insufferably pretentious. What I mean is people having reactions to things that seem inappropriate, or being happy in an apparently unhappy situation.

A "showrunner" as a position is a relatively new thing. It used to be the executive producer. That's not true anymore. Now it's evolved into this model where people look to showrunners and say, that guy is that show. It's just become a lot more interesting to know the showrunner and to get a sense of that person.

I have always been drawn to characters, and this was true for my feature-writing career as well, where there is a tension between rule-breaking and rule-following.

Obviously, everybody's favorite form of web content is more story with principal actors. But the economics of the web do not yet support.

I'm always looking for what's something that Bradley Whitford's character can say that is completely outrageous and completely wrong, but in a double-reverse way is actually totally right. I don't really like where there's a story and you lay a few jokes on top of it.

Spies have the same kinds of needs and desires that everybody does, which is funny. The best kind of comedy derives from that kind of truth.

I'm fortunate to have had my own level of success. My joys in life are I've got three little kids, and I got to buy a house that I really like, and everyone should have that.