You used to have to make a choice. Is it a serialized television show, or is it a stand-alone or procedural? We were wildly influenced by The X-Files. Even when we created Fringe, it was the same thing. It's the gold standard of all gold standards, in genre television, and it was so wonderful because you felt so much for those characters.

By actually taking Sleepy Hollow and the Rip Van Winkle story, and finding the spirit of what was great about both of them and putting them together. So it felt, actually, like one of those ideas that clicked for us, right away, on instinct.

I love the opportunity to tell the story about the characters through the music.

When you're working on a scene, both in the script phase and also in the moment, you look around and you wait for the lightning bolt to strike you and based on your instincts tell you what the right thing to do is here. And that can result in anything from a change of dialogue to the realisation that what you thought was a dramatic scene should actually have some humour. And maybe if you stage it this way it's funnier, or if you put the camera here it tells a different story. That stuff is kind of everything when you're a director.

I think what all the Universal monster movies are defined by, and what makes them very special, is that it's really the only genre entirely unto itself, in which you fear the monster and fear for the monster. That's a very hard thing to do. To fear for and fear at the same time is extremely unique.

When you start a script you aim to hit a note you know you want to end in general.

I do believe that people go to the movies - for one reason or another - they go to the movies to have an experience.