The muscles that writers need for film are very different from TV muscles. Now, when I hire the writers and put the writers' room together, I know where their muscles need to be.

You don't have your film finished when you have your director's cut finished. It's just a bunch of green screen.

A TV show where all of the characters are trying to figure out what's going on, and the suspense of that, fits my [voice] really well. You feel their frustration, anger and fear, and then, when the reveal happens, their sense of dread or horror, or whatever it is, and I like to paint with those colors.

My directing style is long takes. The longer take I can do, the more I can think of not doing it in cuts, the better.

I knew the moment it happened, it was a miracle. I could have been kissing her when she threw up. It would have scarred me for life. I may never have recovered.

I consider myself an independent filmmaker.

Basically, when I'm writing something, I think about what is the subject of the piece. The subject of the piece is our fear of getting old, which is a variation on our fear of dying.