I'm pretty hard to impress, and I'm pretty exacting, in terms of what I want from my props department and art department. We spend many, many hours going over visual research and finding the right artists to create the material.

I don't think I'd ever write anything that I don't also direct just because it's so hard and painful to write as it is.

When you know you have a certain amount of work to finish, you just don't allow yourself to get sick again.

I try not to read too much because what ends up happening is that you ignore the nice reviews and you just focus on the bad reviews. A negative lesson is learned seven times deeper than a positive reinforcement.

All I kept thinking about was, "Man, he's so relaxed onstage! I'm never going to be that relaxed! I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera."

The authenticity aspect is pretty important to me. When we have to compromise and do something that's not authentic, it really rubs me, every time I have to see it in the edit, which is millions of times.

If you think of most murders as being between people who know each other, it's very easy to figure out who the killer is. But when you have a murder that appears random, where the person is not someone that's within the known radius of the victim, then it's much, much more difficult to solve.