Comic books and graphic novels are a great medium. It's incredibly underused.

I'm Godless. And so I've had to make my God, and my God is narrative filmmaking, which is -- ultimately what my God becomes, which is what my mantra becomes, is the theme.

It's not that much of a difference. Basically, your job is the same as a film director. It's a triangle between creativity, money, and time. But they don't really change. You're ultimately trying to get the most creativity and time with the money that you have.

I think people are people and, if their feelings are truthful, they can connect. It doesn't matter if you're an aging, 50-something wrestler at the end of his career, or an ambitious, 20-something ballet dancer.

I remember the few times that happened to me in writing, where you basically start writing and you look at the clock and six hours have gone by and you're, like, "Whoa! What the hell just happened?" And that piece ends up in the final product even though the final product is three years away. It doesn't get rewritten. It came out the right way. But that's happened to me so few times in my life.

The only way I know as a director is to figure out what the film is about. And out of the theme and the sense of what the film is about, all those decisions start to make sense. But to find that truth within it, you have to limit your possibilities and limit your choices. That's where this visual language grows out of.

I was 12 or 13 years old. So I started to write poetry and fiction, even though I was really into biology because my dad was a science teacher. I kept writing all those years.