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“But, yeah, I'm really happy when I'm writing. When I'm being creative and when I have something that I can put down. You know, if you go out and you overhear a conversation or you have a thought, you have a receptacle to go home and say, 'Oh, this would be great in this script.' Your antenna's out in a different way, and I love that time.”

“I love stories where the impossible appears believable, plausible and real. Maybe it's silly, but it's one of the reasons Michael Crichton's writing always appealed to me: he took outlandish ideas and made them seem completely within the realm of possibility. I remember reading "Jurassic Park" and feeling like: "Oh, yeah - no, that's totally happening right now. They're bringing back dinosaurs!"”

“It wasn't a case of me sitting down and thinking, right then, what shall I do with my life? Airline pilot? Plumber? Guitar manufacturer? Writer .... yeah, writer. I've always loved writing, from a very early age--I guess I was writing my first stories when I was still in single digits. It progressed, and the love of writing grew in my mind and is still growing. Doing it full-time, there are different stresses and tensions, and the business side of it comes to the fore sometimes. But I still love it, and I'm always thankful that I can do what I do and make a living from it.”

“A lot of times, writers are told write as big as you can, and that's not untrue. But at times I think it's better to write as small as you can, to start scenes with little personal details or people who are doing average every day human things. That, to me, lets the average reader into that person's life. "Yeah I eat breakfast. I take a shower."”

“All kids draw and write poetry and everything, and some of us last until we're about eighteen, but most drop off at about twelve when some guy comes up and says, "You're no good." That's all we get told all our lives. "You haven't got the ability. You're a cobbler." It happened to all of us, but if somebody had told me all my life, "Yeah, you're a great artist," I would have been a more secure person.”

“I'm hard-nosed about luck. I think it sucks. Yeah, if you spend seven years looking for a job as a copywriter, and then one day somebody gives you a job, you can say, Gee, I was lucky I happened to go up there today. But, dammit, I was going to go up there sooner or later in the next seventy years. If you're persistent in trying and doing and working, you almost make your own fortune.”

“It's fun when the writers start writing jokes to you, but also it's fun when the writers will come to you and say 'Hey, listen, we're working on this story and we need to know if you speak any foreign languages.' And I said 'No, I don't. I speak a little Spanish, but I can learn a foreign language.' And they go 'Okay, do you think you can learn Portuguese?' And I go 'Yeah, whatever it takes. If it's funny, I'll do it.' So of course I start looking online and learning Portuguese, and as it turns out, I get the script and it's now Serbian.”

“I do get labeled as a guitar band, but the only reason is that's the instrument I know how to play. The guitar is serving the song I'm writing. But I'm learning how to play keyboard better now so that'll start serving the song as well; it'll be another flavor. I'm not going to switch it up with big, fat drum machine beats and real swoopy synths, but yeah...”

“There's this whole post-modern, nuevo beatnik, retro-bohemian thing going on, you know what I mean? You walk into some coffee shops, and it feels like you're an ex-patriot in Paris in the 20s. You're like, 'Hey, isn't that a young Ernest Hemingway over there? Yeah, I think it is! Hey, let's go have a look and see what he's writing... It's a Gap application.'”

“Yeah I was aware of the book, but hadn't read it. So as soon as I'd finished the script, I got a copy of the book and read that. My wife had read it and she loves it, so that was a good sounding board. I like her writing style, she's such a page-turner. I enjoyed The Constant Princess as well. I think she's great. The books are very popular with women and I can see why.”

“The love of writing comes at a very early age. For me, for instance, comic books so affected me. And a lot of people who come up to me and start talking about writing, when I start talking to them about the "Fantastic Four," they look at me aghast. They say, "'The Fantastic Four?' That's not literature." I say, "Yeah, but it was when I was 11 years old." This was literature.”

“Oh yeah - you have to write every day. Or every weekday. Because writing is a job. It's not eureka moments over and over. It's grueling work, panning for gold. You just keep at it and eventually you get a few grains. Or flakes. Or whatever gold looks like in rivers. Or maybe it's like fishing. Who cares? You just have to do it every day because you never know which day is going to be your productive day.”

“Ron Moore. He was the guy that on our show and Deep Space Nine wrote the best Klingon episodes. He wrote great episodes in general but he wrote the best Klingon episodes. I always could tell when he was going to write a Klingon episode because he was able to grow a beard really quick and I’d see him with the beard, like a Worf-beard, and I go "Ah, Klingon episode coming up!" and he goes "Oh yeah."”

“I can't relate to the idea of suicide. I guess I'm just one of those people that is always optimistic and upbeat. But one day, I sat down. I said 'You know what? Just to kind of purge myself, I want to see what its like to feel that low'. So I decided to write a suicide note. Yeah, just to kinda flush it out there and put it on a page. And I started to do this, and I had an epiphany. I'll share this with you: a suicide note that is written by somebody that is not suicidal is called an autobiography. I am on Chapter 58.”

“And then afterwards I worked in advertising for a year which taught me about writing even when you don't want to (laughter) because there's never a moment that you want to write about an Erickson cell phone but you have to. And that's really important you know obviously for the...like if you really want to write, you have to write every day no matter how you feel or you know. And then, yeah, and then I ended up working in TV and then from TV into movies and then directing, so.”

“. I did an interview earlier and somebody asked me if I [knew I] was onto something back when I was first writing. I said, "Yeah. I always thought I was good." We're not the Beatles or Led Zeppelin or AC/DC. But Helmet always sounded like Helmet, and we sort of developed our own sound. There's a vocabulary that's kind of universal now that's very simple. My friendDavid Sims, [the bassist] in Jesus Lizard, said, "I wish I'd thought of it." When you first hear it, it's like, "Oh duh." But that's cool.”

“When I started doing these advocacy groups, it sort of propelled and compelled me to write songs, because otherwise I wasn't really sure what I was going to do, music-wise. I wasn't particularly motivated to write songs. But this level of humanity and spirit that I witnessed greatly impacted and so inspired me, so that I felt this sort of renewed vigor to write music. As far as how grounding it is, yeah, it's the ultimate amount of perspective.”

“Yeah, for me there are other challenges that aren't musical too. Like you just don't have as many people to feed off of energy wise, you are loading in and out and you are driving yourself more. Most of the challenges that count are the musical ones. I don't know why people come out to the shows, but I never think that it is to hear me play the guitar and sing. I think it must be in the writing and the presentation, which are the areas that I feel most comfortable.”

“It's not so much less pressure, it's less work, which is really exciting to me. I'm just personally looking forward to being able to spend a little more time doing different things, so that's really great. Jay and I are writing a book this year which is really fun and so yeah, I am very excited to spend less crazy 12-hour days on set. Those were taxing times.”

“This particular one was very, very heartwarming and is the relationship of an older man and a young boy that are essentially on the run. And so yeah, as I say, Barry Crump wrote a lot of books and this one got into the hands of Taika Watiti who then writing the screenplay decided to really vamp up if that's the word, or ramp up and modernize certain phrases - getting in the humor. So he added a lot of a real comedy perspective onto it which is what I think the story needed anyway, especially for it to turn into a film. And it worked.”

“A few years ago, when I was writing songs for my first album, I was staying with Michael Feinstein as I often did. I was working on a pilot. My grandma was very sick at the time. She died of complications from alcoholism. She always used to say [in his grandma's voice], "Red wine is good for my heart. That's what my doctor said." And we'd say, "Yeah, but not for breakfast." Unfortunately, it was the thing that killed her. I felt inspired to write a song about her and what that meant for her life and for all of us. I was writing it in Michael's house.”

“I was over at Alison's [McGhee], I think we were playing Scrabble. I remember we were both complaining - yeah, we sound like whiners - about how hard writing is, and how we didn't have a story to work on. Alison said, 'Why don't we work on writing something together,' and I said, 'Eh, I don't know if I could work that way.' She said, 'Well, just show up here and we'll see,' and I said, 'Well, what would it be about?' She said, 'Duh, it'd be about a tall girl and a short girl.' So I agreed to come and try it for a day.”

“When I write and produce something, I know exactly how I want it to sound, and I have a very strong interpretation of it. I can't really think of anyone at the moment I'd particularly like to play a duet with. You never know, though, I might receive an offer tomorrow and say, "Yeah, that'd be great." But it's not something that's on my mind.”