When I was in art school, there was a stigma attached to coming from comfortable suburbia. If you were from Great Neck, Long Island, you couldn't be a 'real artist', so I found crafty ways of implying that I was from New York.

I had grown up in a world dominated by women - I had aunts and sisters and great-aunts - and I just felt like I lived in a completely female world.

My career has been a slow burn with many peaks and valleys.

Like all artists, I'm a complete cinephile; I see everything. I see past movies, present movies, indie movies, experimental movies.

I wanted to make a home that was similar to the kind of home that my mother made. To be able to create something like that in my adopted city, New York City, one of the toughest cities on the planet, is really special.

It's funny, you know, growing up, you are always introduced to people as your uncle this or your aunt that or your cousin this. By the time I was in my 20s, I had no idea who I actually was or wasn't related to. It's kind of a running joke in the family.

There was a commonality in a lot of the private school experiences that I had of children whose lives were not their own. They thought they were their own, but they were essentially gifted this life by their parents. So they were spending money; they were going on trips - I guess, in a way, it is their life, but they didn't earn it.

Mr. Cosby wanted to do a show not about an upper-middle-class black family, but an upper-middle-class family that happened to be black. Though it sounds like semantics, they're very different approaches.