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[on the resurrected 'Arrested Development' series, 2013] Don't feel compelled to watch it all at once. It's wonderful and flattering that anyone would want to - I don't take any of that for granted. But comedy requires something of the human body. I hope people are laughing, but you can get tired of laughing. So really, it's OK with us if you take your time. That's the whole thing with Netflix. Do with it what you want. It's yours now.

With 'Arrested Development,' we tried showing the deep disdain that connects a family. We wanted to hold up a mirror to American society. And, just as predicted, America looked away.

You know, 'The Golden Girls' was a very unusual show to start on. I was young, and it was a show about old people, and it was a very traditional show, but it was also an amazing training ground for a joke-writer. It forced me to learn those skills.

Something about not waiting for the laugh of a laugh track allows you to take lines that otherwise might be seen as just direct jokes, and make them seem realistic.

It's like, if I had the luxury of choice, and didn't have to worry about making a living, I would definitely want to get into whatever field it was that allowed me to push further and further comedically. Because that's the joy of it.

When we were making 'Arrested Development,' it was the hardest thing I'd ever done. You know, nobody was watching. We weren't getting feedback. The job wasn't paying very well. But the one thing I did feel confident about was: No one will ever be able to do this again. Because no one would be stupid enough to try.

When you don't have a laugh track, you can make the clothes funny. We can make a sign funny. We can make the way somebody walks funny. The makeup can be funny.

What's realistic to me is that families love each other and stand by each other. What's unrealistic is that they would ever say that.

Shows don't reunite because television doesn't work that way. There's no profit model and people go off to do other work.

Television is a very writer-driven business, and it's one of the few parts of entertainment where writers are treated with respect, only because they need you. If they didn't have to treat you with respect, they would be happy to dismiss you.

There's real peril in trying to repeat yourself, and apply rules that applied to something else to a new project.

When I was on 'The Golden Girls,' we'd have eight scenes per show. And when 'Seinfeld' came along, they went to, like, 30 scenes a show, which was revolutionary. 'Arrested Development' has probably got 60 scenes per show. It just keeps emerging as this more and more complex thing. I always try to keep it very simple at its heart.