I am lucky, I’m the first to admit that.

I’d love to do a movie where the monster is human, where the issue is not otherworldly, or horror or science fiction.

I hope to make movies that are so small they don’t need to make anything to be profitable.

I have no style. There are certain people who just have a visual sense that defines their work. You could probably watch 30 seconds of anything they do and you’ll know exactly who directed it....

To me the interesting main character is never the one without flaws.

It’s a leap of faith doing any serialised storytelling.

People never know what they want, though everyone says they do. If they did, nobody would ever be surprised.

I’m a fast writer.

I love the idea of anthropomorphizing machines. I love the idea of taking technology and giving it a personality.

I mean, my dad’s a television producer, and I knew I could get a job as an assistant or a reader with one of his friends, but it wasn’t exactly what I wanted to do.

Whenever a toddler sees a pile of blocks, he wants to tear it down.

I find that it’s hard to fully examine one’s life and not have faith be part of the discussion.

All I know is that I’ve made some big screw-ups, and I’ve done some things that have done all right. I just keep trying to learn from the mistakes I’ve made.

I’m obsessed with things that are distinctly analogue.

My mother is the coolest, most amazing person I know.

I think when you’re 10 years old, it’s too much to see something with the threat of death in every episode. Kids are better left naive about certain things.

Robotics are beginning to cross that line from absolutely primitive motion to motion that resembles animal or human behavior.

I’m literally open to any medium that will have me.

I hate to look at the stuff I’ve written and consider what it means or why I do it.

I’ve had the same friends since I was in kindergarten.

What’s a bigger mystery box than a movie theater? You go to the theater, you’re just so excited to see anything – the moment the lights go down is often the best part.

All the times I’ve been lucky enough to be a part of a show that’s actually gotten on the air, it’s always that same mixture of excitement and utter fear.

One of my favorite things about ‘Star Trek’ wasn’t just the overt banter but the humor in that show about the relationships between the main characters and their reactions to the situations they would face;...

You never want to have that ticking clock and know that you had all this time and didn’t use it.

We live in an age of instant knowledge. And there’s almost a sense of entitlement to that.

The ability of a television series to make adjustments is something you’ve got to take advantage of.

I’ve never done Twitter.

I try to push ideas away, and the ones that will not leave me alone are the ones that ultimately end up happening.

As a director/writer/producer, all you ever want is to work with actors who make you look better, who make the work you do seem as good as it can be and even better than it...

When you go to commercial, you want something to call the viewers back, and if you don’t have a decent act out, the audience probably won’t be there in the numbers you want when the...

I think that even if you’re wondering if two characters are ever going to kiss, drawing out the inevitability is part of the fun. Whatever the genre happens to be.

I feel like obviously the standard for what TV looks like changes all the time.

I love working with the right actor, and if the right actor happens to be unknown, that should be allowed, too, I think.

My work isn’t any more important than anything else in the family.

The goal is always to do B material in an A fashion.

I don’t try and write strong female characters or strong male characters, I just try and write, hopefully, strong characters and sometimes they happen to be female.

You know, we’ve got to this place, where you go to a movie for one particular surgical fix. So, it’s like, I want the pulse-pounding action, or the insane falling-off-my-seat comedy, or the devastating, heart-breaking...

I don’t think I have a signature.

I have nothing against 3-D in theory. But I’ve also never run to the movies because something’s in 3-D.

As a kid, ‘Star Wars’ was much more my thing than ‘Star Trek’ was.

‘Star Trek’ was always a little bit closed emotionally. I never connected to the characters.

When you work on something that combines both the spectacular and the relatable, the hyperreal and the real, it suddenly can become supernatural. The hypothetical and the theoretical can become literal.

Making movies was more a reaction to not being chosen for sports. Other kids were out there playing at whatever; I was off making something blow up and filming it, or making a mould of...

I think you have a passion and an obsession for something when it’s not necessarily ubiquitous.

I love movies with spectacle but spectacle can be a performance, it doesn’t have to be a creature.

I’m not trying to be coy or manipulative or Machiavellian, I want to spark people’s imaginations.

There’s nothing wrong with doing sequels, they’re just easier to sell.

When I was a kid, it was a huge insult to be a geek. Now it’s a point of pride in a weird way.

Obviously with the Internet and increased access to other means of watching shows, the audience has dispersed and is all over the place and that is a challenge.

Pitching is always a weird, difficult thing.