The ability to get inside your character's head in a graphic novel is really fun and useful because one, you can really define the character's voice and two, it's a way easier way to convey what the character's thinking by actually laying out what he's thinking.

Mythologies become exhausting burdens, from a writer's perspective.

People love a good mystery; I understand that.

What I think networks do so well are big, fun, accessible, invite everybody into the tent kinds of storytelling, akin to an early Spielberg movie or a Michael Crichton novel. That's not to say that there aren't scary parts 'cause there are, and that there aren't sexy parts and edgy parts, just like early Spielberg would have, but there's a lot of heart, a lot of emotion and complicated characters.

I like to tell stories that have beginnings, middles and ends.

Driver picks the music, shotgun shuts his cakehole.

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