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It's rare that scenes last more than 2 or 3 minutes, so sound helps segue from one scene to another.

I want to do more audio originals because I think that it is a fascinating medium. If you think about it, this is original storytelling.

With 'Midnight Special,' the sound was used as a narrative construct. The audience is looking in one direction when a sound suddenly erupts from the other direction.

One of the rules of the road is that if you want to create the sense of silence, it frequently has more pungency if you include the tiniest of sounds. By manipulating what you hear and how you hear it and what other things you don't hear, you can not only help tell the story, you can help the audience get into the mind of the character.

I think that that is a wonderful format - you know, having individual stories over a period of weeks that are thematically connected in terms of genre - there's not enough of that out there.

With a mini series you can give the story a proper sense of pacing, a proper sense of closure.

Maybe storytelling belongs in audio - a short story is the length of a commute. That can be a sacred spot where you have the ear of the reader without having to compete with other media like games or TV.

The whole problem of the sound-work is distancing oneself from the dramatic.

'The 25th Hour' came out of the decision - a really very conscious decision - that I needed a story set within a compressed time frame because that would help focus the story.