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I like Victorian children's novels extremely a lot. If I would say I collect anything, that's what I'll hunt for now and again at old book stores.
There are many films and TV shows I make where people find themselves in fantastical situations; as often as possible, their reactions to it are very normal.
All of the most important lessons about writing I learned from my father. He never set out to teach me anything, it would just be something he said casually in conversation.
Personally, the NSA collecting data on me freaks me out. It totally freaks me out. And yet I'm from the generation that wants to put a GPS in their kids so I always know where they are.
I go to movies expecting to have a whole experience. If I want a movie that doesn't end, I'll go to a French movie. That's a betrayal of trust to me. A movie has to be complete within itself; it can't just build off the first one or play variations.
I don't write just to be clever. But sometimes I do. And if you don't have an understanding of the language, then the way in which it's bent doesn't actually register. It's the old you-gotta-paint-like-them-before-you-can-paint-like-you thing.
An audience who watches my shows knows who I am, knows that right when they think I'm going to make a joke, I'm going to blow something up, or during the worst peril, I'm going to have someone give someone a kiss - it's just going to happen.
I used to write chronologically when I started, from beginning to end. Eventually I went, 'That's absurd; my heart is in this one scene, therefore I must follow it.'
I've seen plenty of films where the projector broke. The problems that we have in the digital age are exactly the same as we had. Instead of, 'There's a hair in the gate,' it's, 'The computer ate the footage.' There will always be things like that going on. Nothing is perfect.