I hope to make movies that are so small they don't need to make anything to be profitable.

When you work on something that combines both the spectacular and the relatable, the hyperreal and the real, it suddenly can become supernatural. The hypothetical and the theoretical can become literal.

Cameron Crowe is someone who I've admired for so long, and I've been friends with him for many years, and I've wanted to work with him so badly that I just never stopped bothering him about writing a script that would be for a pilot.

Pitching is always a weird, difficult thing.

I feel like obviously the standard for what TV looks like changes all the time.

Well, we knew that we wanted to tell a story that made bold choices, and one of those bold choices was meeting a storm trooper and seeing who this person was. That's something that had never been done.

Whatever is being investigated, created or produced now, in movies or TV, needs to consider the context in which it is being distributed. It's not a vacuum. There are certain universal themes of love, conflict, loyalty or family that are everlasting and that need to be presented in a way that makes it feel relevant, even if it's a period piece. You need to consider what context that film, that story and those characters are being seen in.