In terms of viewing the world in a certain way, when you're talking about monsters and talking about the metaphor that you're trying to create, as Black Americans, you oft times stand apart and you have to look at things from the inside out or the outside in.

I will always write myself a part. It will never be number one or two on the call sheet, but it will be number five through ten. That way they won't kick you off after you sell it.

As a fan of science fiction and as a kid who loves monsters, science fiction movies and this, that and the other, there's no real way to make a career out of that. Especially when I grew up.

A lot of times you talk about what you know, but since our reality is so difficult, its hard to think about travelling beyond the stars to another dimension - fantasy worlds - when, in reality, you can't get a job on Earth.

I think that that's important as a fledgling creator to generate your own work because it's hard to get people to hire you for a myriad of reasons. You have to be able to generate your own work and show that it has legs and that it's viable.

Usually writers are behind the scenes. Like a lot of people don't know that the cat who created Final Destination is a brother, Jeffrey Reddick.

I think that you take the path of least resistance. And for a lot of people comedy is that path. I mean, even against mainstream, it's easier to sell a comedy than a drama.