And more importantly what we found with those people is that a lot of them said, "Hey it's not what I thought it was going to be." Which is a great reaction, particularly if they liked it.

Well, truth be told it was the hope on the last one, it's always the hope. It's just you don't just wasn't to do it- everything we do is, for a lack of a more crass term, everything we do is pushing against the conveyer belt.

It's a combination, I think they want to know - it's for every show, which is I think networks want to know that you have a vision for where the show could go to make sure that it really is a show, that it's not just a one-off forty minute pilot, that it's an actual series.

We were going to call it "Star Trek: The Avengers", and for a while we were like, "People are going to love that title". No, we had a whole bunch of titles, we never had any official title until we came out with this, we had different conversations about other things.

And then simultaneously I don't think they're asking you to necessarily write in stone that this is what you're going to do or what you have to do.

It depends on the project, what's happening that day on the project, at what stage were in on the project; it various from project to project and where we're needed.

It's interesting because the way J.J. cuts - we're very close with our editors as well, so it's kind of the first cut and then he went back and started tightening things up, etc, then loosing things when it was too tight. Then you start watching it and you start figuring out performance - not performance, character-wise I should say, who you're really able to follow, whose journey is harder to follow, and you make all that work.