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.

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.

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

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 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.

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

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.