I try to work on shows that I would want to watch.
Obviously with the Internet and increased access to other means of watching shows, the audience has dispersed and is all over the place and that is a challenge.
The Internet now provides an immediate and very clear consensus of what it is that the audience is experiencing. It's something that you should never let lead you, and yet at the same time, you should never ignore it.
I've never done Twitter.
We're living at a time where if you do a Google search for a 'show, review and network,' you'll get 'The New York Times' and Pete Billingsley from a town you've never heard of on the same results page. It's kind of democratizing the process so that everyone has access to a distribution system to express themselves.
I hope to make movies that are so small they don't need to make anything to be profitable.
Stories in which the destruction of society occurs are explorations of social fears and issues that filmmakers, novelists, playwrights, painters have been examining for a long time.
When I was a kid going into the movies, you weren't force-fed information everywhere you looked about what the movie was going to be.
I have nothing against 3-D in theory. But I've also never run to the movies because something's in 3-D.
I am lucky, I'm the first to admit that.
My mother is the coolest, most amazing person I know.
My work isn't any more important than anything else in the family.
I'm obsessed with things that are distinctly analogue.
When you work on something that combines both the spectacular and the relatable, the hyperreal and the real, it suddenly can become supernatural. The hypothetical and the theoretical can become literal.
When I was a kid, it was a huge insult to be a geek. Now it's a point of pride in a weird way.
I'd love to do a movie where the monster is human, where the issue is not otherworldly, or horror or science fiction.
Making movies was more a reaction to not being chosen for sports. Other kids were out there playing at whatever; I was off making something blow up and filming it, or making a mould of my sister's head using alginating plaster.
It's a leap of faith doing any serialised storytelling.
Pitching is always a weird, difficult thing.
When there's an authentic mystery, as opposed to just a question being asked, that's what makes you lean forward.
