# Interviews

Our stories reveal our humanity. They peel back the layers of the titles we hold—mom, aunt, etc.—and remind others that underneath those layers, we’re all just people.

Research awakened me to the vast array of knowledge contained not only in books and the internet, but also in the people around us, and reminding me how much there is to learn about the world in which we live.

Writing multiple POVs drove me crazy at times ... I wrote Mary in first person because I wanted readers to feel an intimacy with her, and I thought it would help them connect to her as an outsider.

Kids are very aware of what’s going on around them. And I think they want to escape into worlds that ultimately make sense, regardless of the offbeat concepts or quirks that define those worlds.

The working-class is what I know, and they’re almost always at the heart of the stories I tell. As for why we’re not hearing enough about them—I don’t know. Superheroes are overqualified for the jobs out here.

"I’ve become, like many of my peers, frustrated with the machinations of getting a film made in Hollywood ... I’m only interested in work that speaks to me on a very personal and intimate level.’’

I hope this story offers readers some kind of kindling—for warmth, or to stir some hidden fire. Mostly, I hope this story helps someone reclaim their own skin—whatever that means to them.

I really relish just wallowing in the language, the descriptions, making sure everything is as tight and on-point as it can possibly be.

John Bucher had a chance to sit down with Stoller and the cast of Storks — Andy Samberg, Kelsey Grammer, and Stephen Kramer Glickman — to talk about the project.

"That moment has got to feel like the greatest moment of this guy's life, you know, like we're behind him and not in front of him."

Remember, I’m a comic. I don’t have all the answers, but I will always have an opinion.

Wired Shut writer/producer, Peter Malone Elliott, and director, Alexander Sharp, discuss the behind-the-scenes details of taking their feature film, from idea to completion.

Mass takes place in the aftermath of a violent tragedy that affects the lives of two couples in different ways. What both couples have experienced is unimaginable.

I think people can relate to feeling so desperate and invisible that they might do something they think they would never do.

Unless we are performing and/or directing, we aren’t building the house or moving into it—we have to leave space for the other collaborators.