You have to be dynamic. You have to be able to change. So a lot of times we'll go to a country or go meet people, and then while we're there, the story changes and you have to be able to go with that. And then the story comes out in the editing room, which is a very documentary sort of process - not how news works. So that's different.

Look, I've had four kicks at the can. You've had a tremendous career. We're also happy. We've loved. We've lived. We don't starve. We haven't been shot in the gut. So at that point, I started getting a little more serious about the content we were making and the business and building the business. I also became more serious about life and being happy. I got married, I have kids - I'm happy at a cellular level now.

I want to be like Tom Freston. Tom just flies around everywhere, gets to make movies, gets to start TV shows, hang out with cool people and do whatever he wants.

I don't go to bars and stuff like I used to, but I live each day to make something.

I mean, we shoot differently, we cut differently, our stories are different . . . I'd say that every single thing is different except for the fact that you watch it on a TV or a computer or a phone, just like you do with everybody else's content.

Everyone told me, "Don't ever talk about international stuff," and "Don't do long-form content online," and "Don't get too serious in news," and "Don't be too heavy" - all this stuff, all the rules. But we broke the rules, and that, ironically, has led to some of our most successful stuff.

I'm addicted to when people are bringing you around their country, telling you their stories. They become so enthusiastic, so passionate.