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There are certain things in 'Descender' that I've dealt with in the past. I think you can see a direct parallel with Sweet Tooth in TIM-21.

There's been Hollywood interest in a lot of the stuff that I've done, but 'Descender''s felt different right from the start for whatever reason. I don't know if that's because a lot of my other stuff's a little more idiosyncratic, and 'Descender' has a bit more of a high concept to it.

There's a lot of mystery just inherent in the story of 'Descender.' There's sort of a central mystery that runs throughout it.

I regard the 'Descendants' as a melodrama, and all scenes have been the trappings to increase the element of romance, I thought. In that sense, I am very satisfied and have great respect for the decisions of the writers.

We want to take our time with 'Descender' and let the story unfold at its own pace. But we have carefully planned each world and worked to give each its own look and feel. And each of the 9 core worlds will play a role in the series.

The cool thing about 'Sweet Tooth' is that you can bring influences from the underground and alternative people that I read and also bring in some genre influences, too, from movies and comics. And kind of mash it all up. It's a fun project.

There are two trilogies I admire: Robertson Davies's 'The Deptford Trilogy' and Philip Pullman's 'His Dark Materials.'

For a while, I thought a lot about lineage. Where do I belong? Who am I standing next to?

My family's lineage is five generations of artists who never made it.

I was always looking for evidence of these common musical roots, but I was too young to know that what I was doing was called ethnomusicology.