The best shows are always the ones that are very, very low-concept and just about great characters.

The best shows are always the ones that are very, very low-concept and just about great characters.

Rule number one for the writers when we committed to the jump was: no hoverboards. No one is allowed to pitch that everyone is on hoverboards. It's going to be very very gently sci-fi.

It's so much easier to write for an actor than for an imaginary character and then try to fit that character to an actor. It doesn't work very often in my experience.

I love crazy names. It comes right from Monty Python and Woody Allen - nothing in the world makes me giggle more than a funny name. It became a thing I started doing when I wrote. If a person came into a store and said, "How much is this apple?" that person would have an insane name.

In a weird way, it's not different from any other kind of joke-telling. You make those calculations about jokes about celebrities: is this a fair hit or not? The stakes were higher because the whole world was crumbling around us, but in terms of joke-telling, it's all about feel.

I think if you're too concerned with being cool or hip or liked, you can't really make good TV because sincerity and coolness are opposites.