Quotes from Raphael Bob-Waksberg

I thought it would be fun to make a cartoon about this sad, misanthropic horse.

I really liked the idea of a talking horse in a human world.

BoJack Horseman' would make sense in the world of 'Rick and Morty,' but it's hard to imagine Rick and Morty in the world of BoJack.

I really believe that comedy is an incredible tool, and you can use it in many ways.

For a long time in my adolescence, comedy was the only tool I had for communication and dealing with the world and dealing with people - I didn't know any other lens in which to do it.

I think some actors are very smart and have the tools. They know how to disconnect themselves from the characters, but I think for a lot of them, it's very difficult.

It's something I've seen a lot of: these tortured geniuses, or self-proclaimed tortured geniuses, who kind of take their damage out on others. I think being a showrunner, you have a lot of unchecked power and I think that can be a very dangerous thing.

Any show that kind of relish the damage of its main character without really investigating what that damage does, where it's from or what it means, is a show I think needs to be taken down a peg.

I would love to just watch episodes of 'Horsin' Around' if I could.

If you are stuck on a problem, go for a walk and think about something else for a little bit. Going for a walk is very helpful for a writer because if you are staring at a blank page of a computer screen there is all this pressure.

I don't know how everyone writes a novel; that sounds exhausting.

Look, anything any writer writes is going to be on some level autobiographical. Part of the funny/sad thing is that you don't always know how autobiographical you're being.

Saying someone's a fan of animation is as silly as saying someone's a fan of live action. That can mean anything.

I always felt like the best comedy came out of sadness, and some of my favourite shows growing up - a lot of my influences - have these very sad characters and treat that sadness seriously while also being very funny.

I've written six seasons of a TV show with great help from an incredible staff of writers and other collaborators, but I still feel like I don't know what I'm doing. I've kind of freed myself of the expectation that I ever will.

If you try to guess what people are gonna think, you're chasing the wrong thing.

I was very moved by shows that combined things that were funny and sad. I remember liking 'Simpsons' episodes in which emotions were central.

I moved out to L.A. from New York... and I remember feeling, kind of like anyone does when they first move, so very lonely and isolated.

What It Means When a Man Falls from the Sky' by Lesley Nneka Arimah blew my mind.

I love to go on road trips. That's one thing I love about being in L.A. and having a car. In New York, you can get around on the subway but you can't really go anywhere. But there's a danger in believing that where you are defines you.

Netflix really trusts us. We don't get a lot of network notes. They're not coming back all the time like, 'Oh, this is too sad,' or 'This is too weird.'

I've been in rooms where the creator has sold a show and then felt like the network didn't buy the show they wanted. They bought a show they thought they could craft into the show they wanted.

I always think that's really lazy, when I'm watching a TV show or a movie or something, and there's a flashback and the idea is, 'This one moment is the reason that everything happened. This character saw this guy, and this guy said this thing to him, and that's why he is this way.' Because I think in real life, it's not so one-to-one.

I always loved 'The Critic' and how specifically 'New York' it was.