Most of life is offline, and I think it always will be; eating and aching and sleeping and loving happen in the body. But it's not impossible to imagine losing my appetite for those things; they aren't always easy, and they take so much time. In twenty years I'd be interviewing air and water and heat just to remember they mattered.

There's all different kinds of people, but I don't think it's that unusual that once you get like a little power, you get to do your weird thing even more.

I don't think I'm more of a screenwriter than I am a fiction writer. I'm more of a reader than a film-watcher, so I imagine that I'm not approaching fiction or films in a particularly cinematic way.

A more normal, mature way to think about it [my work] would be, Oh, I work on multiple projects at once and they overlap, but the actual psychology of it is a lot more self-abusing.

I think it's more interesting if you go all the way with the world you have, and really look at it, and push it to an even more extreme extreme.

Since I started making art, I've always had some kind of project that was really about and for other people, because I think I just need that balance to feel sane myself — you know?

That's the artist's job, really: continually setting yourself free, and giving yourself new options and new ways of thinking about things.

To do someone else's script? I don't think I'd have a reason.

Some people are uncomfortable with silences. Not me. I’ve never cared much for call and response. Sometimes I will think of something to say and then I ask myself: is it worth it? And it just isn’t.