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.

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.

The other great thing about it, that seems to be the case in streaming, is that a lot more scripts are written before you start. Because they are planning on allowing it all up at one time, you have four or five scripts to read and an outline of where it's going to go. The writers aren't chasing their tails as much. You're able to see the beginning, middle and end of a storyline, and that is rare. Streaming allows that, in a way that network TV doesn't.

It's an art installation to put out a collection, with the people behind the scenes who are inventing and creating these designs and making sure they're realized on the catwalk, and just how much hangs on it for the designers. Their livelihoods hang in the balance, as far as whether this year's collection works for them or not, and there are so many people's jobs on the line, as a result of that. I just had no idea.

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

Like for Einstein, and for people who create nuclear weapons, the problem with the pursuit of knowledge and the pursuit of the greater good is that it invariably leads to things you weren't expecting.

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.