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“This stuff they are talking here in Congress costs the people of the United States $44 a page. That's beside what it costs to ship it to the asylums where it's read.”

“I think people today are very cynical. They need to bring other people down. Reality television and tabloid magazines—never before did we need to see movie stars taking out their garbage. But all of a sudden, it's front-page news—trying to figure out who's dating whom, all that stuff. Who cares?”

“What critics might call eclectic, and Eastern folks quirky, we Southerners call cussedness-and it's the cornerstone of the American genius. As in: 'There's a right way, a wrong way, and my way.' You want to see how that looks on the page, pick up any of Craig McDonald's novels. He's built him a nice little shack out there way off all the reg'lar roads, and he's brewing some fine, heady stuff. Leave your money under the rock and come back in an hour.”

“I remember on a Friday afternoon getting a phone call from Grant Simmons saying, "Mike," we got to be pretty good friends; "Mike, the Sheriff is closing us down on Monday. If you'd like to drive into the studio tomorrow morning, you can have anything you want." So rather than go in and take home piles and piles of cels of Spider-Man what did I take home? Two pages of original art that got sent out to the west coast. Now of course if I'd have taken all the rest of that stuff home I could probably have retired a lot earlier.”

“I actually enjoy working with green screen, because I can imagine all that stuff happening, and I really cut my teeth on a movie I made called "Adaptation" where I had to imagine four-page dialogue scenes with my twin brother, who was nothing more than a tennis ball and a gas stand.”

“My first jobs were at Pixar and John Lasseter just doing animation would always allow actors to do that, and then animate to that. It was an early lesson for me that, if you're lucky enough, as I've been in my career thus far, to get really incredible iconic people to do your stuff, you want them to tell your story and you want them to be on page in the important moments, and they usually are.”

“Not to any really influential effect, but certainly there have been comments that have surprised me. It's surprising sometimes to get particular perspectives on your work, and it's enlightening sometimes to know that non-writers and readers out there have certain assumptions about everything that I both want to keep in mind and want to forget about why I write, and about the connection between me as a private person and the stuff that I think about on the page.”

“If I looked at some of these pieces as if this project was not spoken-word but just short anthology, I probably would have fussed with some of the sentences, you know? Syllabication and prosody and such crap. Because the printed word is etched in stone. But for reading purposes I accepted this book of texts in the manner in which I wrote them, no need to fuss. Most of the shorter stuff was written as poetry. Meaning lots of white space on the page.”

“I mean, what's thematic? How to put it? Going back to, like, 1980, when I started writing poetry. Language itself became an issue. I'd even think about font as an aspect of text, you know, how something looks on a page. A lot of this is the product of a very solitary existence, it's like, language, I mean, you know. A lot of time spent alone in the creation of all of this stuff.”

“I've got pages and pages of snippets of stuff, and if Max [Hershenow] sends me a track to write to I'll go through all the stuff and the initial reaction of gut and how it makes me feel and I'll sort of go from there and start pulling my favourite pieces of my lyrics and that will be a very literal word collage and from there I'll sculpt it for and whatever reason the song sort of presents itself. It's a bizarre process.”

“When I'm teaching, I'm not really doing my job if the student who's always comfortable doing wacko stuff all over the page keeps getting gold stars from me for doing wacko stuff all over the page. A riskier assignment for that student, who might be used to hiding behind a lot of formal armor, would be to try to do something straightforward, traditionally, in which they are much more directly laid bare for the reader.”

“In my head, the 5 issues of A Spoon Too Short comprise one novel: a 100 page graphic novel sequel to Douglas' two Dirk books, taking some of the ideas he was working on before he died, and a whole bunch of new stuff from me and a little from Max Landis (who is the Executive Producer on the book as well as writing the forthcoming TV series).”

“I really like the "two is better than three" line. People ask me is this drama or comedy? I just think the more colors you have to a film the better. The more genres, the more people will like it. I like relating to the whole general speaking public. The script itself is 99 pages but the novel it is based on is 600. I had to leave a lot of stuff out of the script. I had a limitation of what I could present on the big screen.”

“I start my process hand written, and then I dump it in. It's like you're getting a second draft 'cause when I put it in the computer, I fix it and change stuff. That's my process. I picked that up from speaking to Neil Gaiman and Joe Hill. I was messing around with the idea of starting to write more, writing a book and doing things like this, and I reached out for advice. They were like, "Oh, we hand write, and then we dump it all in." I was like, "Great! There's no more blank pages."”

“For some people, it's very easy to be spontaneous and they can pour out the most wonderful stuff. But it's really hard to exert control over it, to think, 'Well, this could be different. This could go in the opposite order, there could be more here and less there.' For other people, it's much easier to have rules and a methodology, but much harder to let loose and allow their feelings to come pouring out on the page. They're more shy or they're just more distant from their emotions. I think everybody starts with one or the other.”

“They [the Travelers] know everything about the year that they're coming into. But you can know everything and still be tripped up by the little stuff that you didn't notice. And one character's Facebook page is made up of lies. It's an interesting comment on what's been going on the last few months. We cannot rely anymore on Facebook or Twitter or Instagram. People are making up their own truths.”

“The creation of a film starts with an idea, a notion of a time period or characters, and you get really excited about the idea, and sell it to others if you need their support to write the script. You can't wait to get started, and then you try to start, and you struggle with the blank page, and you get some ideas, and they're bad ideas, and you write bad stuff. It's really bad.”

“I would imagine that anyone picking up a book written by me would expect a fast-paced story that requires minimal effort to turn the pages. The reader would also be looking for some out-of-the-ordinary revelations along the way. At the end of the day, I'm a writer who simply loves revealing stuff that is out-of-the-ordinary.”

“You may be the only guy my age I've ever met who knows what bergamot is, much less that it's in Earl Grey tea." "Yes, well," Jace said, with a supercilious look, "I'm not like other guys. Besides," he added, flipping a book off the shelf, "at the Institute we have to take classes in basic medicinal uses for plants. It's required." "I figured all your classes were stuff like Slaughter 101 and Beheading for Beginners." Jace flipped a page. "Very funny, Fray.”