What you'll gain is the macro story. You'll get a good command of that. And what you might lose is some of the fun of it.

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 think of there being two conditions that creative people go through. I think it's fear and curiosity.

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.

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.

My knee-jerk is that it is comedy and, if you watch them all back-to-back, you will gain something and you will lose something.

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