On the set, I visit the set for a lot of the rehearsals, and there's always a writer on set. And then I'm involved in post-production, very intensely involved in editing, and the sound mix and color timing. Really, I have about nine jobs.

I think there's a kind of elegance to it, to work within that framework where what you don't see is often more enticing.

All human stories are interesting. You don't put a kid in a show because you need a device. They have a story, too.

I know that telling the story, there are certain events I want to skip, and certain events I want to hit. The time passing allows for - if you're really following people's lives, and this isn't a cartoon - someone gets pregnant, a child will be born, etc. You really don't want to be locked into "Every episode is a month later." The show is very intense to make. There's always going to be some downtime between seasons, and to me, it really helps to come back to the next season in the reality of that world, and have almost as much time passed in their lives as has passed in yours.

You don't drink and smoke that much, and womanize that much, unless you really want to be punished, I think.

Super confident people with no problems and great marriages and great parenting are not good entertainment.

I'm in the entertainment business, where you're only as good as your last show.