“I wasn’t really a big comic book guy, growing up. I watched cartoons, but the choices were a whole heck of a lot slimmer.”

You do a couple of superhero things and then, all of a sudden, they want to get you because there may be some name value.

It’s liberating, on one hand, because you get to show up in sweatpants and with Doritos on your fingers, but on the other hand, it’s limiting because it’s just your voice.

When I go back in to re-record a line. I’m the icing on the cake, but the cake is the thing.

It’s a different thing to just be a voice.

On a plane or on a train, or whatever, you see people with their headphones and they’re looking at their iPhone or their Galaxy.

The power lies in who can say no the most. But, real power, though, lies in the opportunity to say yes.

This cross-section of people they just happen to bring in to decide the fate of mankind on television is really scary.

People are ready to do either, and the content has to work on both.

I know that the vitriol and hyperbole that exists online, and the anonymity, can be deadly because it’s cloaked in negativity and it’s brutal sometimes.

More and more people are watching entertainment on their phones.

And then, there are the producers and the writers and the director on the other side of the glass, and what they want.

You have to be malleable to what’s going to work, and you have to stay in the framework of the context.

If you ever go behind the glass and look at the focus groups that are deciding what you’re gonna watch, it’s scary.

People ultimately get what they deserve on TV.

I think people ultimately realize that, but not when they’re in the spotlight.

Nine times out of ten, I’m trying to meet someone else’s expectations, whether it’s the director or the writer or the animator