“I’m not like J.K. Rowling, where I know there’s going to be this number of seasons, and I know exactly what’s going to happen.”

Sometimes I feel like I’m seeing it all at once and it’s too much. My heart fills up like a balloon that’s about to burst.

I would be so bored if that was the case. There would be no journey. There would be nothing to discover.

The important thing is that he shook hands with us over the phone.

There are times when I am directing, and there are a couple of moments I didn’t get the way I wanted, but I know I still have other angles to shoot and I have to be done by noon; I move on.

The ego is kind of a big, unwieldy thing. It’s not so easily tamed or subdued.

I’d seen ‘Interview with A Vampire’ and saw Dracula movies growing up, but I never thought, ‘I love vampires; I have to do a show about vampires.’

I mean certainly, you read about things people did to each other in the pursuit of some mystical or occult goal, and it’s horrifying. But that’s just human nature.

I try to tell the best story, and the story that has some heart and some genuine terror and some social commentary and some comedy and some romance and some sex and some violence.

I’m not a believer in luck, but I do believe you need it.

In my own life, I think legends of supernatural, mythic things are really just a manifestation of the collective unconscious. So I don’t really get freaked out.

I will say that the environment I grew up in was not the most progressive.

I think vampires are a timeless powerful archetype that can tap into people’s psyches.

It’s easy to look at the vampires as a metaphor for any feared or misunderstood group.

Happy relationships are boring. We all want them in our own life. But I don’t want to watch them on TV.

That somehow distances us from actually taking part fully with the reality we do have, and that creates suffering.

I don’t necessarily believe in vampires or werewolves or that kind of thing, but I believe there is definitely a realm we don’t necessarily have access to.

Young artists must pave their way to Art by drawing pictures for magazine stories that young authors write to pave their way to Literature.

No matter when it was written. That the author has written his book only for me.

We should like Nature to go no further; we should like it to be finite, like our mind; but this is to ignore the greatness and majesty of the Author of things.

I only translate authors whose work already interests me as a reader, and that’s a decision I make based on multiple encounters with an author’s work.

One that actually relates to all Latin American literature: that is, not every author is interested in being a representative of his or her national culture on the global stage.

The fiction I’ve written and published is certainly inflected by the work of authors I was reading or translating at the time.

One of my methods for developing my own voice in fiction, a process I am taking very slowly and deliberately, is through these very intense encounters with certain writers.

I realized I had some cultural capital to spend, and I wanted to use it to introduce another author who might be considered a risk by conventional publishers. Michael Noll was at the top of my list.