As an adult, the only people who care about horror movies are academics. No one loves to talk about horror films more than somebody with a Ph.D. in cultural studies at a university.

Because I'm 44, I feel kind of lucky that I lived through this period where I started my career where there was no Internet at all, and now when I finish it, there will be nothing but the Internet.

I am interested in the possibility that we are going to be wrong in the same way that history has indicated that mankind always is. It seems as though the history of ideas is the history of being wrong. And to me, that is a kind of continuum. It's a continual path that shows we don't always know something, but we're always shifting to a path that makes us feel more comfortable in the moment, even if that shift is wrong, and a new shift is destined to happen again.

Maybe I could survive in one of those resort prisons where they house white-collar criminals. I've always wanted to get better at tennis.

It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridiculous, or like a parody of itself, or that it's not as good as something similar that was done in a previous film. What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive.

Anybody who says they are a good liar obviously is not, because any legitimately savvy liar would always insist they're honest about everything.

The worst thing you can do to anybody trying to be creative is to demand participation in their vision.