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.

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

I remember being asked when I was in high school what do I want to do when I grow up and the answer is so indicative - I would like to have been a successful playwright.

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.

It's very easy I think when you're a creative person to wait for the right thing and to start getting self-conscious about how you are going to express what you do and what's special about you. I would say in general, a lot of times the answer is that you just dive into something and you find your own voice through that process.

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.

One of the challenges of the show has always been trying to be surprising, and that was easy to do when nobody was watching it. Now that people have started watching it, they get ahead of us. We've all started really guarding the material, just to make it fun for the audience.