"What can I say about Julianne Moore other than that she is a queen and a goddess and I love her. This film is so unsettling, and I find it hard to describe because the monsters and enemies are invisible. What is leading this woman who is technically fine, technically well-off, technically clean, and technically shouldn’t have anything to worry about down this spiral of sickness and paranoia? I often feel that way about myself when I’m dealing with existential crises of my own. I count my blessings, but I can’t get away from, at certain points, this feeling that something is wrong, and this film hit me right there. Haynes was ahead of his time in creating that sort of ominous, intrusive, odious ambiance without beating you over the head with outright horror or contagion, or all of the easy ways to get you to feel scared. It’s all that isn’t being seen in the film that is scariest."

"We’re often talking about ParaNorman as being John Hughes meets John Carpenter, and that was intentional. It was to try and tell a spooky story that was almost… you know, we talked about it like being directed by Sam Raimi as well. It was to try and combine all those elements: All the angst of a movie set in high school, where your issues are more about, you know, being bullied by the kid who lives down the lane, but to couple that with a movie about the more fictional horrors of monsters. I like that play. They’re actually a really good marriage. I’ve talked about ParaNorman being the characters from The Breakfast Club dropped into the plot of The Fog — and The Fog, I would say, would be one of the other influential ones. Right from day one of writing, I think. I love that movie, as bad as it is…"