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What's fun is that the characters in 'Broad City' are rushing and hustling, and our process reflects that.

If people watch 'Broad City' very closely, we just drop lines about people we love, just to say we like them.

We end the show with something that's never been on TV because it was too big for a sketch but we couldn't stretch it out to make a whole episode because it would have been too long, but we always thought it was really good.

I write 'Broad City,' so I connect it to me.

At the end of the day, it's really, really difficult to make a brand-new show, to write a pilot where you have to introduce characters and everyone has to kind of be dynamic and have something different for themselves.

With 'Street Fight,' it took an urban mayoral election and found lots of complexity in there. The same with 'Racing Dreams.' I wanted to show complexity within this world that most documentary people don't know anything about.

I just think 'Broad City' - Comedy Central's answer to 'Girls' - is the best thing that's been put on television in years. It's amazing.

We have it, we're lucky enough that we've created a show where it's not about... a family, or a kid, it's about a town.

I think that complicated, nuanced, deep, heavy - that's the place to go. That's what makes a great show. That's what all of us deal with in life.

The show has boundaries right now we're trying to widen them not break them.