And then we've got Blades of Glory, and we've got Brothers Solomon, and I've got a script in development with this guy Chuck Martin who used to write on Arrested, and, you know, we have a few things in various stages of development.

But since day one, we've always been kinda up against it. So at the end, it's not surprising that we were kind of led along for so many months and didn't know what the fate of the show was gonna be. It was... in a weird way, just kind of that was the way it's always been.

Yeah, you know, within the context of TV families, these are pretty unsavory characters.

Because I think a lot of people felt like, ultimately - and this isn't the first time I've said this, so I'll bore you again with it - but ultimately it was... I think it felt like homework a bit for people.

There's a lot of lying and these are people who are incredibly flawed, and not in very sort of empathetic ways, either. Some of the things they do are pretty awful and some of the things they do to each other are pretty awful.

No, Arrested Development was such an amazing experience in every way, and you know it was very unique in that it was a show that received a lot of critical acclaim, and yet we didn't ever achieve the ratings that we wanted.

Arrested Development opened a lot of doors for me.

The show had run its course on the Fox network.

And I think that at a certain point, after all the time and all the conjecture and everything that had kind of gone on surrounding this show, I think that Mitch just felt like it was time to let it go. It was best for the show.

It doesn't look great if you cancel the reigning Best Comedy Program, you know, you're gonna take a hit from a... from sort of a public relations standpoint.

Most shows, you really have to force it. And everybody's nervous, and the network is nervous, and they've all got their notepads out, and they're all going to give notes on what they think is funny, and everybody's trying to spin their jokes, and this was so - the script was so good that we didn't have to really do anything, and it made it so easy for us to do well.

When it sort of finally sets in that you're not going to be doing that anymore... it's disappointing.

My first movie was this independent that I did on the Erie Canal in 1995, called Erie, that I don't know if you could even get, actually with Felicity Huffman. And then from that I did this film that was eventually called The Broken Giant later that fall. And then I kind of started getting into doing pilots.

Well, no, I didn't because I didn't even know the nominations were coming out. I gotta say, it wasn't even on my radar. I hadn't... I hadn't even thought about it.

I mean, I gotta say one of the greatest victories on that show was when we got picked up for the back nine of the first season, and they made it a full order.

This pilot, by far, was the best I ever read - and I hope that insults every other pilot I worked on.

Well, yeah. At a certain point, you've got to be really honest with yourself. Like, 'Why am I doing this? What are my motivations?' Like, if you get into it because you want to be famous? Then you've got a long row to hoe. But if you really feel like it's a labour of love and it's something you're actually legitimately good at, then it's not that hard to keep plugging away.

And then we've got Blades of Glory, and we've got Brothers Solomon, and I've got a script in development with this guy Chuck Martin who used to write on Arrested, and, you know, we have a few things in various stages of development.

Well, we were never coming back to Fox... that was clear.

And we... right from moment one, we were always kinda up against the wall a little bit when it came to the future of the show. There were always rumors.

Look, I get it; you come home, you work hard, and you turn on your TV... You kind of want to escape a little bit and be taken away by something. Our show required you to pay attention, and if that's not what you wanted to do, then it wasn't going to be for you, and that's OK.

But as a result of that, there was, once the show ended, there was this talk for sort of four, five months about what was going to happen, and if we were going to move to Showtime, and if we were going to be bought by ABC or whatever.

'Gob' is a character that I enjoy playing immensely because I have so much freedom to take his dim-wittedness to all sorts of low levels. I find him interesting because when you see real people who are completely self-unaware, it boggles your mind.

Any kind of run-of-the-mill flaws that are easily solved, to me, are boring. Situational flaws, for example. I like flaws that are rooted in a deep distrust in people because of a lack of love.

Any time you can build jokes around a story that resonates on an emotional level, it is going to have a big impact.

As I get older, I'm sort of fascinated with the idea of somebody who could construct an entire persona for themselves - one that was really, in a lot of ways, fundamentally at odds with who they really were as a person.

At no point was I like, 'Man, I gotta write me a part where people are going to take me seriously'.

Because 'Gob' was a terrible magician, he was always, in great comedic moments, messing up his magic act. We used to have magicians come in to work on these tricks to actually get them wrong. But they still had to work. We had to bring magicians on to make magic not work.

Everything's not black and white. We choose to make bad decisions or not.

I am happy because I'm grateful. I choose to be grateful. That gratitude allows me to be happy.

I don't aim to make art in a vacuum - you want people to like it.

I know that my kids are big 'Turtles' fans because there's been this resurgence, especially with the new series on Nickelodeon.

I spent a lot of time quasi-fascinated with characters who were super-dumb and super-cocky. I always liked that combination.

I started acting as a teenager, but it wasn't until I moved to New York when I was 20 that I made any kind of commitment.

I think that when I was in my 20s, I wanted to go after dramatic roles, and I didn't have a tremendous amount of success with that. I kind of backed my way into comedic parts. When you're young, you kind of take yourself seriously, and you think, like, 'People need to see what I can do.' And it's so laughable, especially with actors.

I'm a huge Toronto Maple Leafs fan, and the only other teams whose games I go to are the Rangers and the Kings.

I'm not necessarily interested in telling the story of people who are super likable.

If you have a character that doesn't have anything wrong with him, there's nothing funny about it. The idea of the straight man is very important. But I'd rather it be somebody else, because it's not as fun.

It's very rare that people are exactly who they appear to be.

One of the greatest punsters of all time, Peter Serafinowicz, is a good friend of mine, and I've been in situations more than once where people have been exhausted hanging around with him.

People have this preconceived notion of me. I'm 'Gob' to them: this thoughtless sociopath who lives this bizarre, ego-driven life. That would be insanity.

Pure unadulterated success is not as funny as failure.

The first paying voice-over gig I ever got was for a company called Harvard Community Health Plan, which is a Boston-based New England health care provider. I inherited a deep, gravelly voice from my dad, who has always claimed that if I ever get injured, he'll just take over for me.

The thing I always try to hold onto with 'BoJack' and with 'Flaked' is that maybe there is a sliver of hope that they are going to turn it around. They are just having a tough time getting there. And that's the thing with 'BoJack' - he is obviously depressed.

This might be controversial, but sometimes I think that being happy is a decision. I don't mean that in a way to diminish clinical depression. But on a more day-to-day level.

Venice is a place that is high on reinvention. The kind of place that you can go and be whoever it is you want to be and do whatever it is you want to do, and nobody's really going to ask you a lot of questions about it.

Vernon Fenwick. He's a cameraman at Channel 6 - he's April O'Neil's cameraman - and Vernon is a character who is from the 'Turtle' mythology.

We live in an age where people will watch epic entertainment on their phones.

What came out of 'The LEGO Movie' was the idea of 'Batman's the Dark Knight', so why is he so moody? What's going on? Why is he so banged up? And wouldn't it be fun to get in there and explore that?