You just have to learn to get really good at choosing your moments and making sure that your story isn't overwhelmed by the effects, and that your emotional storyline is what's driving the train.

The way that I work is that I try to work in metaphors, and you can't write a metaphor unless you know where you're going, so I always think about the future.

Sometimes something you thought wouldn't really be as big as it was blows up into something else.

Jeff always says, "In the cinema, everybody goes to sci-fi. Those are the biggest movies. But, in television, nobody wants to touch it with a barge pole." It's strange. I think it's because maybe there's a legacy of television shows that depicted sci-fi in a certain way that turns off a lot of viewers, so maybe there's a negative connotation.

Once people start to realize the consistency of quality that is coming, they'll start to open up their minds a little more and say, "Wow, this is great. I'm going to tune into this." It's not just for the geeks and the people that are into it. It's actually really fascinating. That's my take on it.

I want to feel that my characters evolved into a place that they deserved, that was sometimes unexpected, but where I would feel satiated that logically they have come to a conclusion that makes me feel satisfied.

The heart is an organ of fire and you can't stop it from feeling or connecting.