I think our goal and intention is to make sure that, when you watch each episode, you don't have to make that choice, but also that you can have stand-alone episodes, where a story can have a beginning, middle and end.

The thing for me, and I can only really judge this by what I respond to myself as an audience member, I really only respond to a movie if I'm interested in the people who are in it. It's really that simple. If I'm not, then it's all noise.

We were such fans of Sleepy Hollow, in all of its iterations - growing up with the Disney show, and then Tim Burton's and, obviously, the most important being Washington Irving's short story. It evokes and invokes a very specific feeling and tone.

You used to have to make a choice. Is it a serialized television show, or is it a stand-alone or procedural? We were wildly influenced by The X-Files. Even when we created Fringe, it was the same thing. It's the gold standard of all gold standards, in genre television, and it was so wonderful because you felt so much for those characters.

In fact, we actually listen to fans all the time. It's helpful because you want to get a sense of what people are looking for and what they disagree with.

I do believe that people go to the movies - for one reason or another - they go to the movies to have an experience.

By actually taking Sleepy Hollow and the Rip Van Winkle story, and finding the spirit of what was great about both of them and putting them together. So it felt, actually, like one of those ideas that clicked for us, right away, on instinct.

I love the opportunity to tell the story about the characters through the music.

An emotional story is an emotional story no matter how big or small it is.

When you're a kid and you're a superhero lover, the holy trinity is Batman, Superman and Spider-Man, so to be able to take any of those and play with it is a huge joy.

You always go by your gut. That's the best you can do. You go by what you feel, and you say yes or no based on what it inspires in you.

When you start a script you aim to hit a note you know you want to end in general.

I think what all the Universal monster movies are defined by, and what makes them very special, is that it's really the only genre entirely unto itself, in which you fear the monster and fear for the monster. That's a very hard thing to do. To fear for and fear at the same time is extremely unique.