I'm not a fan of endless mystery in storytelling - I like to know where the mythology's going; I like to get there in an exciting, fast-paced way - enough that there's a really clear, aggressive direction to where it's going, to pay off mystery and reward the audiences loyalty.

I've had a lifelong obsession with urban legends and American folklore.

When you do 22 episodes of a network show, it's incredibly useful to have a format that gives you a jumping-off point for a story.

When you start a show, the plans are not set in stone. They're really mutable, cocktail napkin sketches.

It's always better to go personal and painful than to go big.

Beyond all our Blackberries and iPhones, we're dangerously separated from our food and water supplies.

When you're writing TV or movies your vernacular is time, it's all based on rhythms, a character takes a beat or two characters have a moment, like everything is about time. And when you're writing a comic, everything is about space. It's how many panels to put on a page, when should you do a full page splash, what is the detail that you see in any particular image.