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.

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.

Frankenstein can be a metaphor for abandonment, or wanting to be accepted for who you are, or not liking who you are and wanting to actually change that.

When I walk in the door sometimes, I'm already an anomaly. Because I'm working in a genre that African-American's don't typically engage in.

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.

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.