It was very much that feeling of having worked so hard on Da Vinci's for three years without seeing sunlight that, unless the right thing came along, I didn't want to do it.

Oliver [Goldstick] is a very dynamic and imaginative writer, so the stage directions were visceral and very clearly written.

The minute you're offered another option, you're like, "You mean, I can watch this every week, if I want to, or twice this week, if I need to, and not next week, if I don't have time?" I didn't even realize it was something we wanted or needed, which is where all great innovations come from.

I went to London Fashion Week for the first time, after I got the job [on The Collection ], and it completely changed the way I perceived it. I thought, "This is a far bigger operation than I ever expected, and it has far more worth than I ever gave it before." It definitely changed my view of the fashion world.

It was very much that feeling of having worked so hard on Da Vinci's for three years without seeing sunlight that, unless the right thing came along, I didn't want to do it.

I'd like to say that I'm a binge-watcher, but I don't really have time. I think the most I've done in a sit-down is three episodes, maybe. It depends.

I just think streaming feels like it's the future. It allows people to watch things in a way that fits into their lives.