I had ADD as a kid and often acted as the class clown. My teachers used to tell my mom, 'Raphael thinks he's a real comedian.'

There was a warm and encouraging environment at home. My self-loathing and neuroticism are not because of my upbringing.

I was very moved by shows that combined things that were funny and sad. I remember liking 'Simpsons' episodes in which emotions were central.

My general feeling about award shows that I've been to in the past was always that when you win, it's a great time. What a joy. You're celebrating there. And when you lose, the whole thing feels very stupid and why does anyone care about any of this. This is boring. I want to go home.

I think life doesn't necessarily have an endgame.

If you try to guess what people are gonna think, you're chasing the wrong thing.

I think Netflix have a bit of a reputation for being totally hands-off, which is not quite fair. They are very active and vested, but in a really good way.

I think that, as a show creator, you have to be very careful about what messages you're putting out into the world. That is a not always popular thing to suggest, because it feels very Tipper Gore-y, perhaps.

One thing I think about a lot is that one of my favorite pieces of narrative art as a child was 'Calvin and Hobbes.' I really saw myself in the character of Calvin. I was rambunctious, I didn't always follow the rules, I had a wild imagination.

I don't know, I don't know how to do anything. I'm just like, doing impressions of what I've seen other people do, and hoping no one knows that I'm actually just a little monster in a human suit making my arms go up and down.

A lot of Christmas episodes of comedies are comedies trying to be dramas.

A lot of Christmas episodes feel like stories in quotation marks. Uh, a homeless guy comes to live with them and they all learn a lesson. That didn't come from an organic place.

That's all life is, I guess. Just a bunch of riffs. Look at me: I'm wearing a tie. Why am I wearing a tie? It's because I saw an adult wear a tie and I thought, Oh, that's what people do. We're all just trying to be what an adult is.

When you surround yourself with white people, you continue to hire white people, and when you make an effort to hire people of color, that does bring in different stories and different people.

Why do we want to win an award? Yes, my grandmother would be very proud, but I think it's also so people can hear, 'Oh, this show won an award. I guess it's good. I should watch it now.'

Art is a dialogue. I'm throwing rocks across a chasm and hoping people catch them on the other side.

When I write, I try to turn my Internet off so I can't procrastinate through the Internet, but then I just get deeply involved in whatever I have just on my computer.

I think as soon as we start thinking of ourselves as good people, that's when we start letting ourselves off the hook which is bad. I think we should always be trying to be better but that doesn't mean we want to be good.

I think you need to think of yourself as a flawed human being with aspirations for goodness and never start to think, 'Oh, I am a good guy. These other people are bad guys. They're dumb, I am smart.'

I think I am someone who is very interested in structure and different ways of delivering jokes.

I don't want the government to be censoring people, I don't think there should be censoring boards, but I think that means that we the artists need to be very careful about what we're putting out and what were saying and how we're saying it. And I don't think we're being as careful as we should be.

The best stuff is done by people who love it, whether that's high art or low art, whatever that is.

Look, anything any writer writes is going to be on some level autobiographical. Part of the funny/sad thing is that you don't always know how autobiographical you're being.

I always think that's really lazy, when I'm watching a TV show or a movie or something, and there's a flashback and the idea is, 'This one moment is the reason that everything happened. This character saw this guy, and this guy said this thing to him, and that's why he is this way.' Because I think in real life, it's not so one-to-one.

I think there's something very valid about having feelings that you can't articulate. I don't think you should shut those feelings out, but I also want to be able to communicate them.

I do not want to have feelings that are just for me that I cannot express to other people. That frustrates me.

I think some actors are very smart and have the tools. They know how to disconnect themselves from the characters, but I think for a lot of them, it's very difficult.

I kind of want to take the writer down a peg. I think there are a lot of pretentious writers in this business, which I am certainly one, in certain cases.

The nature of being an artist in any field, but specifically in comedy, is that almost as soon as you finish something you hate it, and it feels dated, and not your best work.

BoJack' is a very much a format-based show. The story should always match the format, but I don't necessarily think the story has to come first.

I'd like to think that 'Bojack,' in some ways, pushes the edges of what some people think an adult animated show can be. That was an intention of mine while making the show.

In 'Bojack,' at least at first, we had to couch some of the sadder or weirder or introspective stuff we were doing in the costume of a typical adult animated comedy. With 'Undone,' it felt like we'd outgrown that expectation.

I'm mostly interested in characters and how they manifest themselves in their relationships. I'm delighted that people relate to the characters in 'Bojack,' and hopefully they will too to the characters in 'Undone.' If they understand themselves or feel seen in a new way, I think that's a wonderful thing.

There's a widening of an idea of what a TV show can be or how it can be told, and that's partially in the diversity of the creators and the stories. Because there are so many new networks and streaming services popping up every day that need more content, there are more opportunities to take risks.

For a long time in my adolescence, comedy was the only tool I had for communication and dealing with the world and dealing with people - I didn't know any other lens in which to do it.

I had behavioral problems. I didn't always feel like I fit in. Which is somewhat universal. I don't want to imply that I was like some super out-there kid.

A lot of the hesitancy to talk about the industry in real, concrete terms is not because of people being afraid of biting the hand that feeds them, and more about the fear that people in the middle of the country will not be interested.

I - you know, I know almost nothing about sports. So whenever I hear anything involving sports, my go-to move is to kind of nod and agree.

I was doing this really wacky sketch comedy but at the same time writing these dark, cerebral plays about characters coming to grips with their loneliness and heartbreak. My dream job has always been a way to combine the two. I would say 'BoJack Horseman' is the culmination of all of that.

For me as an audience member, it makes the characters more relatable and interesting if they're evolving and changing - it makes them feel more real in a way. But not every cartoon is trying to be real.

I love to go on road trips. That's one thing I love about being in L.A. and having a car. In New York, you can get around on the subway but you can't really go anywhere. But there's a danger in believing that where you are defines you.

It's much easier for me to think in terms of character movement and emotion and story rather than, 'What are some wacky hijinks we can throw together?'

I always felt like the best comedy came out of sadness, and some of my favourite shows growing up - a lot of my influences - have these very sad characters and treat that sadness seriously while also being very funny.

I would like to see BoJack find some sort of peace. I don't know if happiness is the right word; I don't know if he deserves that... But I would like to think even a soul as lost as BoJack can somehow crawl his way toward redemption.

I think 'BoJack' is definitely very much about kind of the burdens of being comfortable.

The caustic style of 'Archer' was really on my mind when I was first doing 'BoJack' - perhaps too much!

What I also love about Lorrie Moore stories is they take me a long time to read. They're not easy for me because each sentence, I feel like, is so rich and dense, it just sends me off in a thousand directions.

Whenever I talk about how good season two of 'The Comeback' is, people ask, 'Do I have to see season one?' And I say, 'You get to see season one.'

The Comeback' is so cringey and difficult, but watching it, what I was really struck with was the kindness and the generosity.

I want to give my characters nuance.