I'm always looking for the idea in a scene or the philosophy that makes a scene worth existing beyond exposition.

I had always loved horror films, so I wanted to do something in the horror genre but wanted it to be sweet and charming at the same time. Because there's a difference between watching horror, where you can leave it behind, and writing horror, where you have to live in it for months and months at a time.

As an animal lover and as a sometime-meat-eater, I've read so much about the emotional sophistication of pigs and cows and sheep that I do think twice when I do still eat them on occasion.

Anybody who is capable of doing terrible things, you don't want them out in the world, but you can't help but respect their ingenuity and their savvy and their intelligence as they go about their dastardly deeds.

I've never been one of those to kind of like, 'I want somebody to do something against their nature to titillate me.' That never holds any interest. And I always want people to be who they are and if they're being not who they are I feel like it's false and, therefore, less easy to connect to. I don't need them to kiss or to display physical intimacy. I think that almost becomes too obvious. I love playing in the suggestive.

As an insecure writer, I'll finish a scene and worry there's a better version of it. Or it could be elevated somehow.

There's usually a few people who are like, "Say... what would that look like on our channel?" Interest can be expressed without directly expressing interest.