So much of the writing is not conscious, in the sense that it's not calculated. I remember in film school we had so many studies with big fancy words where you could dissect a movie and make charts of all of the characters' complicated inner relations and themes and what does this mean? And it's overwhelming as a student. It's great for a student, but as a writer, it's paralyzing.

The design is a really flat primary color with all sorts of abstract geometric shapes, just implying something. And then you'd have your characters running from something with guns. It was very expressionistic.

Time travel is a thing. It can be very dangerous, and it's also very - it's an expensive thing to do.

I'll have a sentence in my head that's kind of beautiful and interesting, but I'm not sure why or where it's coming from. So it's kind of funny, because when people point out patterns or themes, it's the exact opposite of my film school experience.

Most people's personalities and roles are locked by the time they're nine or 10. I think there's something to that.

I'd love to start some movements. What I'm tired of is irony, and sarcasm, and music/movies/what have you, not having the guts to mean anything.

If you go to a film festival and watch a bunch of features and then watch a bunch of shorts, you will almost always find that the shorts are where people are taking more risks and pushing more boundaries...simply because they have much less to lose.