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

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When I go back in to re-record a line. I’m the icing on the cake, but the cake is the thing.
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You’re reducing a medium that’s meant to be seen on your 65-inch plasma screen at home for your 4-inch monitor on the train.
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The thing is, when you put a button in someone’s hand and give them the power of yes or no is a shorter word. People just say no.
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People are ready to do either, and the content has to work on both.
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You really have to bring your game and know what you want to do.
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It’s a different thing to just be a voice.
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If you ever go behind the glass and look at the focus groups that are deciding what you’re gonna watch, it’s scary.
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You have to be malleable to what’s going to work, and you have to stay in the framework of the context.
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I think people ultimately realize that, but not when they’re in the spotlight.
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You always have good shows and bad shows.
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The power lies in who can say no the most. But, real power, though, lies in the opportunity to say yes.
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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.
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The involvement of people at home is just broadening things.
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People want a certain amount of each. It’s just widening the market a little bit.
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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.
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