One of the problems of writing is that anyone who commits themselves to that process has to believe that they're good.

Television and film are such streamlined story mediums. You can't really meander about, whereas a novel is an interior experience.

You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.

Being a good television screenwriter requires an understanding of the way film accelerates the communication of words.

Casting is sort of like looking at paintings. You don't know what you'll like, but you recognize it when you see it.

The thing that always interests me from a storytelling point of view is how that moment of trauma, whatever the trauma is, even divorce, your dog dies, whatever it is, the consequence, in terms of people's emotional lives and the way it resonates behaviorally for a long time is really the stuff that interests me.

The entertainment world, television, movies, social media, YouTube stuff, we're so bombarded with so much imagery and such a great sense of inhumanity, and there is a coarseness, a coarsening of interaction.