That's what I always loved about [Federico] Fellini's films: You see the weird joy of the weird filmmaking family and the abstract craziness that goes along with it, and there's something about it that's quite beautiful.

One of the things that we were trying to do with this show was the complexities of relationships and love. There is both passion and longing and a bittersweet quality to it that is a part of life.

He can't fly around tall buildings, or outrun a speeding train, the only talent he seems to have is leaving a nasty stain!

It's hard to find logic in things sometimes. That's why I can't analyze things too much, because it often doesn't make much sense.

I wouldn't know a good script if it bit me in the face.

Most people say about graveyards: "Oh, it's just a bunch of dead people. It's creepy." But for me, there's an energy to it that it not creepy, or dark. It has a positive sense to it.

I've always liked monster movies and I've always been fascinated by - again, growing up in a culture where death was looked upon as a dark subject and living so close to Mexico where you see the Day of the Dead with the skeletons and it's all humor and music and dancing and a celebration of life in a way. That always felt more of a positive approach to things. I think I always responded to that more than this dark, unspoken cloud in the environment I grew up in.