Ultimately, I just felt like Twitter brought out the worst in me. It made me super defensive when I was attacked, because you're under a constant state of attack. No one should be able to check their @ mentions, because Twitter is the equivalent of "Hey, those three people over there that are whispering... They're whispering about you! Do you want to know what they're saying?"

I place a higher value on work ethic than talent, because, in certain areas, you just need to cast, you need to cast actors with talent, you need to hire directors with talent, but I've worked with very talented people who have a poor work ethic, and the outcome is less desirable than people who are less talented and have an incredible work ethic.

In really, really good science fiction the line between the science and the fiction is blurry.

Hindsight is 20/20, but the moral of the writing for me is that when you're feeling very scared and nervous about something and you're fairly convinced that it could be a massive disaster, that's exactly the idea that you should do.

We all look at ourselves in the mirror and think, 'Am I good?'

I think the idea that television has evolved to this place of real thematic richness and the fact that you no longer have to get 10 million people to watch your show in order to propagate its survival are the best things that have ever happened to storytelling in this medium.

The fun thing about doing origin stories is you are introducing the audience to characters.