Is it inevitable after a successful film that they're going to ask for another one? Yes. Do we want to rush and do it for that reason? No.

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.

So that was an important part of the process and strangely, early on, we started to realize, in that respect, we were successful in what we were trying to do, which is make a film that everybody would be able come out and not be scratching their head at all.

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.

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.

Screening is an invaluable part of the process, obviously, having test screening and you definitely learn something.

Yeah, we definitely have screenings; we just don't have screenings out on the street. We bring in - it starts internally, so its people who work at Bad Robot, then it starts going to our friends outside of Bad Robot, and then it starts going to friends of friends outside so we get really fresh people who don't have to pretend to like us.