When you're a writer and you're a producer, traditionally the junkets are really focused on the beautiful people and nobody wants to talk to you.

When you're a writer and you're a producer, traditionally the junkets are really focused on the beautiful people and nobody wants to talk to you.

In really, really good science fiction the line between the science and the fiction is blurry.

Some of the things I love the most are when a writer or a visionary takes on sort of an iconic character and then spins it. Like with Frank Miller, Batman was this one thing for basically forty years, and then Frank Miller came along and said he can also be this other thing. And Christopher Nolan came along and said he can also be this other thing. The idea of taking iconic comic book characters or superhero characters or mythic characters and subverting the genre or coming up with a new idea is something that's really interesting to me.

I've always believed that a good twist is one that, when it is presented to the audience, half of them say, 'I saw that coming.' And half of them are completely and totally shocked. Because if you don't have the half that saw it coming, then it wasn't fair: You never gave the audience a chance to guess it.

Anger is not a real feeling. Every time in my life I've ever been angry, it's because I was scared, or because I was sad and I didn't know it. Anger doesn't just come out of a vacuum.

You can watch an episode of Friends or an episode of Law & Order and just drop in, but you're not going to in the middle of Season 4, Episode 5 of Lost. It's like picking up a Harry Potter book and flipping to a chapter. You have to read it from beginning to end.