In terms of the way things went for me, I'm a firm believer that experience is what makes you. But I'm not saying it was easy.

I've never set a book in Europe. I've lived in Europe three times, but somehow or other it wasn't the experience that engaged me in that way.

For me, in songwriting, I have a route I can take. Maybe there's some forks, I can go this way, this way. But I know those roads. I still have the experience behind me.

My first memory - at about four - was of numbers. The doctors who study me think a combination of mild autism and seizures I had when I was three have made me experience numbers the way I do.

A big part of me would be very proud never having anything of mine adapted, because if you want the real experience, there's only one way to get it. You're going to actually have to be a reader.

It was a given at UCSB that if there was a role that called for a person of color, it was going to be handed to me. There were certain times when maybe I didn't try as hard. Going to Yale was a way more diverse experience.

To me, sound is a crucial component to, really, any moviegoing experience, but particularly with suspense films or thrillers. I think you need the audience to become subtly really attuned to the soundscape in, like, this uncomfortable way.

Usually if I find a film that's challenging, that I'm intrigued by, I want to watch it again knowing what the ending is. I found that with something like 'The Godfather Part II.' I think it took me three watches to fully experience it in the way it was intended.

My very first movie, 'Mary Poppins,' which I talk about, it just turned me into an obsessive, creative creature who had to sort of reply to the experience by drawing things, making things. It was like it forced - it made me into this obsessive, creative creature... I don't know any other way of putting it.

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