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.