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

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

Prior to [streaming], the idea of sitting down and watching a show every week seemed like a great idea.

The other great innovation are things like Transparent or One Mississippi on Amazon, Master of None on Netflix, and those half-hours. It's a lot easier to watch a load of those because it's far more palatable to go, "You know, I'm just going to do one more of these."

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 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.