I didn't know about the fashion world, or at least I took it for slightly superficial. I didn't realize the extent of it.

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.

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

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.

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

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."