We started gearing our content more to what makes us laugh and stories we wanted to tell, and we had to decide, early on, to not be precious about it.

Violence has not really been an issue. Even in my wildest hopes, I wasn't trying to get violence in.

People have outs for numbers of episodes, usually, written into their contract. Some studios will say, "We're going to let Julia Louis-Dreyfus off of Veep to do three episodes, but not three episodes of the same show." But, that's all business affairs, so I'm talking over my head here.

Television is a very writer-driven business, and it's one of the few parts of entertainment where writers are treated with respect, only because they need you. If they didn't have to treat you with respect, they would be happy to dismiss you.

I will tell you that we're all human beings, and we all care about what people think of us. But in general, their outlook is, "We're not looking at opening night numbers. We're not looking at opening night box office. We want this to be part of the reason you come to our service."

I always feel funny when I don't reveal things, especially to you [the press], who have supported us so much and are really the big reason we're here. But, we hold back information about the plot because we want to reward the fans for sticking with us, and that's so much fun. That's the funnest part of it.

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.