What's interesting is when you talk about that - "living forever" or as long as you possibly can - what you really want is a continuance of your memories and your experiences. If I said you could live another 200 years, but we'd have to reboot you, that's not attractive. Nobody wants that as much as a continuance of your experience.

No matter what decade science fiction comes from, it's representing the present.

You have to leave the window open for better classes to come along as you go. You can't grow too proud of your script. You have to let the thing shape itself. It guarantees the best classes will always be used and it also keeps you from going braindead. If you grow bored and uninspired working on something, the audience will be able to tell.

The only purpose of the visuals, in any film, is to serve the story.

It's naturally kind of humiliating and strange to have a microphone; when you're young you just make movies, you don't worry about all the peripheral stuff that comes with it.

It's great for me to hear those different reactions because when I travel with a movie like this [World of Tommorow], it's very similar. You'll hear a line in one city get a big laugh, and then in another city, the same line kind of gets a gasp, and that's wonderful.

I've loved science fiction my whole life. But I've never made a science fiction movie. And it's [World Of Tomorrow] sort of a parody of science fiction at the same time. It's all of the things I find interesting in sci-fi amplified.