The difficult notes are when they say, "And this is how we want you to fix it . . ." Just tell me what the problem is. Just tell me what the issue is, and I'll go off an fix it. It's usually when executives get to a place where they're trying to fix the problem for you that you have issues

Romance classically has tragic underpinnings to it.

The flower inside the fruit that is both its parent and its child. Decadent as ancestors. The portal and that which passes. Nuclear devices activated, and the machine keeps pushing time through the cogs, like paste into strings into paste again, and only the machine keeps using time to make time to make time. And when the machine stops, time was an illusion that we created free will.

As frustrating as it gets, at times, and as frustrating as it is, at times, I don't think I've ever considered doing something else, or not wanted to do it anymore. To me, it's just the greatest job. It's a good fit for who I am and what I want to be.

When we're shooting, I commute to the UK, every three weeks or so, and that's hard. That's probably the toughest, physically, on me. It's a much longer commute than I've ever had to deal with. And then, there are the challenges of this particular production. It's not the kind of show that has standing sets.

There are definitely times when the outside eye can shine a light on something you weren't aware of. They're usually exposing a flaw or a problem. Sometimes they're saying, "Hey, this doesn't really work. Have you seen this?" And then, you go, "Oh, I didn't really see that. You're right, that doesn't work." If they're good, they shine a light on issues that you're blind to because you're too close to it.

After you get a season under your belt, you learn a lot of lessons. It's a much bigger challenge, logistically, in terms of production.