You're never done. You're not done until it's projecting in the theater.
The higher the IQ the lower the EQ. The more intelligent you are, the lower your ability is to communicate emotionally with people.
The point is just to create a discipline for making sure that you're creating material.
We wanted to present the Headless Horseman in a new light. That's where the fun comes in, of just diving in.
I was really fascinated by the idea of how cunning and calculating Headless Horseman would be, and how much personality you can actually get from somebody when they're not expressing. They can do a lot of attitude, just within their body movements.
I think people have a tendency to think of a writer as someone who wants to go take a walk, maybe case a library... I think that's great sometimes but we really treat it like Monday through Friday come in early. You're not late for inspiration. You're working through it no matter what is happening even if you're writing a terrible version.
When you are playing a detective, particularly as a woman, you either are going to embrace the fact that it's a man's world you are jumping into, or you're going to ignore it.
A lot of people we tell the story to assume that the Four Horsemen of the Apocalypse were actually part of the original Washington Irving story, which only happens to be 17 pages. It's a great starting point, and then we built on it, very much in a logical progression.
Sci fi allowed us to be more true to the western than maybe even doing a literal western.
