It's really hard to write about art in general. But it's exceptionally hard to fictionalize art and make work that isn't a parody, or is something that could withstand critique and exist in the art world as a valuable object, or a true piece.

There is a value to moving more slowly through a story.

There seem to be two ways of generating interest from the reader: withholding information or by telling the reader on the first page exactly what's going to happen.

It's really hard to write about art in general. But it's exceptionally hard to fictionalize art and make work that isn't a parody, or is something that could withstand critique and exist in the art world as a valuable object, or a true piece.

There’s a great scene in The Texas Chain Saw Massacre [1974] that I’m obsessed with: Sally is being chased by Leatherface with a chainsaw... And she runs into thorn bushes. And she’s getting tangled up in it because she’s running fast... But Sally needs to move slowly in order to get through the bushes - she will get farther faster by going slowly because her hair and clothes won’t get tangled and caught. There’s something really beautiful about understanding that, while someone’s chasing you with a chainsaw, you have to move more slowly in order to get away.

My strength is character. I'm pretty good at building walking-talking humans with brains like beehives.

I'm convinced I was the only kid ever who had a Death on the Nile [1978] movie poster and a Murder on the Orient Express [1974] movie poster on his bedroom walls.