Everything I write tends to turn into a superhero team, even if I didn't mean for it to. I always start off wanting to be solitary, because a) it's simpler, and b) that isolation is something that I relate to as a storyteller. And then no matter what, I always end up with a team.

Bottom line is, even if you see 'em coming, you're not ready for the big moments. No one asks for their life to change, not really. But it does. So what are we, helpless? Puppets? No. The big moments are gonna come. You can't help that. It's what you do afterwards that counts. That's when you find out who you are.

There was a time before I felt I was a real writer, when I was a yarn spinner and I just wanted to tell story until it was over. But then there came a time where I was like, 'No, I want to understand something through writing this that I might have not understood before. I want people to come away with something to think about.'

I don't know a lot of show runners. I mean I met a lot of them in picket lines. I'm not part of a, like, secret society or pickup basketball game. As far as I'm concerned, pick-up basketball games are secret societies. They confuse me. I've never been a networker or I've never been very social.

When you're making a film, you have an obligation to fill the frame with life.

We have done the impossible. And that makes us mighty.

Now there’s us, staking out our piece of cinematic turf (might be small but it’s ours). And the music has to fit the vision as specifically as it did for [Star Wars and The Matrix.] OUR music comes from THEIR music, this scrappled bunch. It is spare, intimate, mournful and indefatigable.