Usually with something like 'The 100,' because you're working so much and every day, and they'll change the drafts quite quickly, we'll go through maybe, like, 12 different versions of the same scene over a week. So there is no point in learning it on a Tuesday when on a Thursday it might be completely different.

My whole philosophy has been to let the work speak for itself, because that's really what you want to show.

When you're placed in a world where survival is the main focus, a lot of that other stuff, like wrongdoings in the past, become obsolete. You have to focus on the here and now.

The moment the world falls apart, you start forgetting history and wrongdoings in the past.

The move to creating stories was a natural progression for me, but the most pivotal time was probably in 6th grade: That year, a friend introduced me to the stories of Ray Bradbury, and a student teacher introduced me to creative writing.

Simply, the majority of the most interesting filmmakers are the ones confronted with difficult situations. Their creativity blows a hole in the wall and lets in the light.

I suppose I'm proudest of my novels for what's imagined in them. I think the world of my imagination is a richer and more interesting place than my personal biography.

The band projects just took natural priority. I didn't really have a solo career, just wanted to share the music in another way and to learn more about writing, recording, etcetera.