Usually, the energy in elevators is so awkward; I mean, I can't imagine the politics in the ones in the Conde Nast building.

I love the idea of bringing my work to the general public, not just people who go to gallery openings.

Most of my work has no conventional narrative, so it's not essential to have a beginning and an end - your attention can flow in and out of the experience rather than having a set entry point.

Being able to make work - if it's on your terms, and it's a good fit with the people who are supporting it - can be a very interesting exercise. When it doesn't work is when an artist just connects with a brand, and they try to take advantage of each other.

I can't imagine myself outside any kind of social or political involvement. Yes, I'm a writer, but I live in this world, and my writing doesn't exist on a separate level. And if people know who I am and read my books, well, good; that way, if I have something more to say, then everyone benefits.

Writing has always been an incredible outlet for me to feel like I have a voice, even when sometimes I was the only one reading my work. It has been a way for me to unlock my imagination. That's when the world becomes yours, after all.

I think a comedian has a more specific job. Whereas a musician can fall into different categories, you know, of making background music or doing a soundtrack or wanting to be in a band or writing the song, or writing your own songs. And then comedy is a very black and white thing. You want to make people happy.

My first job in Hollywood was as a PA in the writers room of 'Dawson's Creek,' and from that early experience on, I've always had an intense appreciation for the energy, creativity and process of making television.