Judd Apatow, together with me and Lena, we're all the showrunners of 'Girls.'

The first time I saw Lena Dunham was in 'Tiny Furniture.'

When we worked on 'Girls,' we've had some really meaningful dialogue with our fans and with critics and really learned a lot of things. Like, on the question of diversity, we heard people, and we responded, which is very different from, like, 'Hey fatty, what are you doing on TV?' And that's what we're trying to avoid.

The origin of 'Lenny Letter,' it started because Lena went on her book tour, and she had these audiences, young women, really diverse and looking for guidance.

Some writing programs are very much like, you come in, and you have a niche that becomes yours, and, you know, you're the dude from the streets. Or you're the woman who was in prison.

People will fight hard for something they want or something they don't want, that they don't believe a character would do.

I've worked with Judd since 'Undeclared,' and once you work with Judd you never stop working with Judd.

There were no surprises, because when you sell a pilot based on a pitch, no matter how great the script is, it's going to look different and feel different from what someone imagines in their head. There will always be varying degrees of disappointment or confusion.

I just went insane. I just, like, couldn't get off of Twitter. It was like, 'I guess this is where I live now - talking about Emily Gould on Twitter'.

When we're in production, it's 14 hours a day, and we couldn't be less involved in the world. My friends all hate me during that time because I can't see anyone. We say goodbye to everything.