Well consciously what we were doing when making the film was, we really wanted to make sure it was a film about - in our mind it was never really a sequel, it was its own movie going forward and it's why the movie doesn't have a number by it.

Then we started looking at story and what was making sense and what wasn't making sense, emotionally and thematically the intention that we had a year earlier when they were working on the script, did all that come across? It's all kind of generic things, but it's fascinating and it's weird - I haven't made that many films, but it's weird that every time you think you learn from your mistakes on your last film you have a slew of new mistakes and things that you learn.

It was really important to try to reach a whole new audience so we had a lot of people in who not only had not seen the last film but were not Star Trek fans, or thought of themselves as not being Star Trek fans, or they had seen bits and pieces of Star Trek in the past and it was just not for them.

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'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.

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.

We approach our shows the same way where we just have a map and we present them to the network so that they realize that, all things being equal, we can definitely head in that direction. Sometimes we do and sometimes we find better ways along the way.