I want each season to feel new and special. I don't want it to feel, "Oh, more of this." That's something that's easy to do in the first three seasons, and harder to do as you go. I'd rather err on the side of blowing up everything and being like, "Why did you do that? There was more story to tell there," and moving the family to Mexico like on Weeds, instead of people going, "Oh, we've seen this already. We're tired of this."

I am wary of repeating myself too much. In this age of Netflix, as a Netflix show, if you want to go back and watch a season 1 episode, you can do that easily. I'm not interested in repeating the same story beats over and over and over again. But part of the truth of BoJack story is about how much he repeats himself and these patterns that are difficult to get out of. I'm trying not to be evasive about that. I'm not using that as an excuse. I think that's convenient to fall back on as a TV writer: "Oh, it's a show about stagnation."

I don't know if that's the best story for BoJack, long-term. I do love the world, and I love playing around in it and it feels like an elastic enough world that, any story I want to tell, I can tell about these characters in this world. I can talk about parents and children, husbands and wives, the troops, or Hollywood. It does feel like an endless playground at this point, it would be a shame if we cut it off early for fear of repeating the same things over and over again. But I am looking to move the story and character somewhat.

I think you can imagine everyone has ankle weights on, or technology, and there's a reason that people aren't floating around. But I also liked this idea that in this world, people forgot they can swim. The modern world weighs you down, there's always emails to check, you've gotta go to your job and pay your mortgage. You're not really thinking, "Oh, yeah, I can swim around." BoJack discovering it is a big deal, and kind of fun.

The beauty of Netflix is that you can figure out a good part of the season before you get started. You're never in the hole of, "Oh, we've already released the first four episodes, and now we gotta make the finale, and we've already promised this."

I want each season to feel new and special. I don't want it to feel, "Oh, more of this." That's something that's easy to do in the first three seasons, and harder to do as you go. I'd rather err on the side of blowing up everything and being like, "Why did you do that? There was more story to tell there," and moving the family to Mexico like on Weeds, instead of people going, "Oh, we've seen this already. We're tired of this."

It's a fun show, BoJack Horseman to do, and that gets around. It's easy, especially for a lot of actors who don't do a lot of voiceover. No makeup, no wardrobe, they really just come in, the lines are right there, we goof around for a half hour, and I think it feels like, "Oh, yeah, this is why I got into this business: to play around and have some fun." There's no paparazzi, most of them don't do any promotion for the show. it's the fun part of acting, without the other stuff.