Television is so much about continuing to work with people.

Chance favors the well prepared. The more stuff you throw in, the more chances you have of looking like, 'I did that.'

It's much easier to say negative things in a review.

We will be looking at things like the confluence of a scene, and we still have all these creative decisions to make. In general, we're going to just try to make these under a half-hour. We're going to try to take that kind of cable TV comedy model.

At the time, I used to say, "We should market this like Everybody Loves Raymond. It's just a guy dealing with his family." Instead, it was irresistible to show all these funny people. So, I actually think this could be more inviting to a new audience because they can just watch one character, find out what's going on in his life, and then meet another character and find out what's going on in her life, and then see how it intersects the other one.

First of all, there is absolutely an order that we have put together to create the maximum number of surprises, but that's just part of our storytelling.

We started writing the shows in order, and then very quickly had to jump to, "Oh, we got Tony Hale today and Jessica [Walter." We've got to jump ahead and write that stuff that's in Jessica's show. Fortunately, we knew the story, but it was challenging.