I have a lot of affection for those old shows. You can put on an episode of 'Full House' or 'Family Matters' or 'Growing Pains' now and I'll watch it. And I'll totally enjoy it.

This whole idea of too much TV, I think is really gross. Because I feel like it's mostly white men who are saying it. And it's like, 'Yeah, man, there's too much TV for you, but by nature of there being so much TV, there are other voices being represented.' Isn't that a wonderful thing?

I would love to just watch episodes of 'Horsin' Around' if I could.

I don't know if I have writing habits. Writing is impossible and every time I have to do it I kind of forget how.

It is so easy now to never get bored because we have our phones with us all the time and we are always looking at stuff. I think when we get bored we are the most creative.

If you are stuck on a problem, go for a walk and think about something else for a little bit. Going for a walk is very helpful for a writer because if you are staring at a blank page of a computer screen there is all this pressure.

I'm very interested in telling darker stories that maybe you are not used to seeing in animation. Especially because in animation you don't see those kind of stories.

I don't know how everyone writes a novel; that sounds exhausting.

What It Means When a Man Falls from the Sky' by Lesley Nneka Arimah blew my mind.

I am really excited by the form of short fiction.

I don't believe there is any line bad enough that a good actor can't save.

Part of being a writer is just getting it in your bones, getting the muscle memory down, just doing it.

I've written six seasons of a TV show with great help from an incredible staff of writers and other collaborators, but I still feel like I don't know what I'm doing. I've kind of freed myself of the expectation that I ever will.

I'm excited when any Netflix show comes out. I'm like, 'Yeah, Netflix! Doin' great! We're all on the same side.'

Netflix is looking for interesting ideas from interesting creators. They really want to help me make the show I want to make.

When we started on 'BoJack,' it was understood that the Netflix model was to give shows time to find an audience, and to build that audience, and I remember being told, 'We expect the biggest day 'BoJack' Season 1 is going to have is when we launch 'BoJack' Season 2.'

Netflix really trusts us. We don't get a lot of network notes. They're not coming back all the time like, 'Oh, this is too sad,' or 'This is too weird.'

I wanted BoJack to be more of a cautionary figure than someone that you aspire to be.

I named him Todd Chavez after a guy I went to middle school with, whose last name was Chavez and who I always liked. He had a good energy, and something about his spirit felt Todd-appropriate.

With Bojack we are seeing him on this journey. I think we're hoping for him to find a way to be more gracious and kind and positive and better to people in his life and better to himself, but I don't know if I necessarily frame it as he was a bad person and he will become a good person.

You need to know that you cannot control your feelings, and you cannot control your feelings about your feelings, but, as best as you can, intellectually understand that your feelings are valid and they're okay and don't try to stifle them or feel shame about them.

I think we're so often, as writers, afraid of writing something that is less than perfect, and that fear paralyzes us. I'm a big fan of writing less than perfect things.

I really liked the idea of a talking horse in a human world.

I don't know if animation is a style. It's a format.