I love filmmaking when fate is a part of the process and you are dependent on the laws of physics and the elements to get a single moment that transports or in some way creates an illusion even for a moment. I think that is tremendous fun and what I think filmmaking is, catching lightning in a bottle.

The biggest difference for me is that the tales really have no logical outlet, no particular infrastructure in which to present them as you would have with a film festival. There's no IMDb for audio dramas. So there's a lot of work with no particular reward.

It's always different, depending on the writer and the director. A collaborator like Graham Reznick delivers a fully finished piece, perfected in every way. Other writers direct the recording session and then leave quite a bit of the work to us.

I love filmmaking when fate is a part of the process and you are dependent on the laws of physics and the elements to get a single moment that transports or in some way creates an illusion even for a moment. I think that is tremendous fun and what I think filmmaking is, catching lightning in a bottle.

I went to good schools, and I've just always had an allergic reaction to snobbishness - always found myself preferring to blend into the woodwork. I have an affinity to those who, in a sense, failed.

The worst thing that could happen to a filmmaker is growing up wanting to be a filmmaker.

I'm an old school guy and love the guys in the monster suits and JAWS; even though everyone makes fun of the shark I think it's awesome. You know it's fake, but with my generation that was part of the charm.