"Dukes of Hazzard" or something you could, you know that, your work is going to be made up of that - episodic television shows. Not that I got many of them, but that was where I - but actually oddly enough though, they were teaching camera terminology at the same time in this acting class, so I actually was able to understand what rack focus and whip pan and all that stuff meant.

When I'm writing something, I try not to get analytical about it as I'm doing it, as I'm writing it.

My earliest childhood memories are of watching Abbott & Costello Meet Frankenstein and Frankenstein Must Be Destroyed. I remember not liking Frankenstein then and going, "Who is this bald guy?" But I love it now.

And by banning [smartphones] from the set, the whole crew tends to work tighter with each other. And then it just becomes a thing where people kind of fall in love with the idea, 'This is the film-industry that I signed up for! This is really wonderful.' But then they go back to another set and everybody's on their cellphone, everyone's in their own little box, and they get depressed about it.

To call Clive Barker a 'horror novelist' would be like calling the Beatles a 'garage band'... He is the great imaginer of our time. He knows not only our greatest fears, but also what delights us, what turns us on, and what is truly holy in the world. Haunting, bizarre, beautiful.

I really become the characters when I'm writing them. I'll become one or two of them more than others, I'm consistent that way.

And there's wordplay and there's rhythms and you have to be able to get the poetry out of it. You have to be able to sell my jokes. And if you're talking about somebody like Sam Jackson, they do that. Sam Jackson can do that. Sam Jackson can turn it into the spoken word that it was always meant to be and he can sell my jokes. And Christopher Walken can do it and a lot of people can do it, all right.