I'm really into rocks. I have a really serious rock collection. Rocks and feathers and shells and strange found things in nature. I have a lot of those kinds of collections.

When I go into a pitch room and I'm pitching something with a writing partner, everybody tends to look at the guy, even if I'm doing a lot of the talking.

For me, fantasy and speculative science fiction are the genres that feel closest to how I feel about being alive. Like, when I feel the most invigorated by just even a walk down the block in twilight, when the street lamps are just coming on and there's mist and some shadowy thing in silhouette in a window, I naturally invest all of those things with deep mythology and mystery and meaning. I think I need to believe in that version of reality because I get very scared when I don't.

I didn't understand how you could be an actor if you didn't also study philosophy and study political science, astronomy. And also just go out and live life and have experiences.

So much of the world is being brought up on these stories that Hollywood is coming up with and exporting all over. They have so much power and influence, so it's really important that they represent women properly.

Once you play with these scenes and you're outlining it, again and again, and telling each other the narrative, and telling it to people you know, trying to make sure that the mathematics of the story work, you feel that those are in place, and the actual writing and final draft doesn't take as long.

I feel like, when the audience connects with something, they enjoy the experience so much that they want other people to go have it. They're like, "Don't talk about it. Don't tell. Just go!" It's a nice feeling to have people coming around it that way, protecting the ideas in it, so that everyone can see it for themselves.