As J.J. has said many times, when you start a series you want to have a destination. It's like driving a car, when you pull out of your garage and you head out driving down the road, you have a destination, okay?

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.

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.

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.

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.

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.

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.