For me, my mythology growing up was 'Raiders Of The Lost Ark' and 'Star Wars' and 'E.T.' and 'Ghostbusters.' That's what I grew up on, and there aren't many people who can write that kind of scale of story, stories that are that big.

The best thing as a director is being able to be part of the thing that's so cool about a TV show, like running a character arc over six episodes or multiple series.

I've seen a lot of zombie films as a teenager, and I think teens in general, or teen boys, watch a lot of horror. There's a lot of morbidity that goes on in that age.

The vision people have of a director is completely flawed - someone with a crystalline vision of everything they're going to do. How boring would that be? It's a creative and collaborative process.

I personally feel like people shouldn't have to come out. That, to me, was like a moment for myself where I was coming out to myself with, like, 'Okay, I can be the artist that I want to be, and as long as the music is good, people will accept me. It doesn't matter who I am, what I look like. If the music is good, they will like me. The end.'

In the middle 1940s... I heard everyone live. Painting, the theater; everything was happening. It was an exciting time when New York was the place to be.

When I start a picture, I always have a script, but I change it every day. I put in what occurs to me that day out of my imagination. You start on a voyage; you know where you will end up but not what will occur along the way. You want to be surprised.

It's like two years straight out of your life doing a film. It's very enjoyable, especially working with the guys, but I kind of like the idea of traveling and growing, and developing as a writer and as a filmmaker.