I really am a very research-oriented writer.

It's hard to make a lot of pop culture references where there's no pop culture.

There are so many shows out there, so you really need to work hard to separate yourself and cut through the static.

"I'm going to put out something that I believe in, or I'm not going to do it." I'm really scared of putting out a product that people will say, "Oh, that's not as good as the other thing."

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.

People love a good mystery; I understand that.

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.