There are a lot of things that are in the show that harken back to the old show, but I really wanted to resist doing a greatest hits. It was irresistible to do a greatest hits, but it was almost too easy. There are things that I know are still ahead of us, in the future of whatever Arrested Development brings.

Even on the old show, we would maybe not all be in the scene. Sometimes there would be a penthouse scene and everyone would get together. But, even in that context, it would be because somebody was missing.

The form came out of the function because it is for the audience that already knows the show, while hoping to get a new audience, too.

One of the great things about TV is the story to tell can be very internal and really character-based.

We mapped out the whole movie, and then worked backwards from that to do these shows. It might not be a movie. It might be something else.

As somebody who wanted to be creative, growing up, I remember always thinking that the thing I had going against me was Orange County because it seemed like all of the comedy was coming out of New York, and it still is, to a certain extent.

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.