Well, you know, going into any project, especially with a fan base as vocal and passionate as something as "Star Wars," you will have groups of people who will find issues with whatever it is you're doing. But our job was to tell the best story we could about characters that we loved, and we knew that we needed to go backwards to go forwards, and we needed to go back to a feeling and a place and a time.

I'm literally open to any medium that will have me.

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.

Making movies was more a reaction to not being chosen for sports. Other kids were out there playing at whatever; I was off making something blow up and filming it, or making a mould of my sister's head using alginating plaster.

I quickly said that, because of my loyalty to 'Star Trek' and also just being a fan, I wouldn’t even want to be involved in the next version of those things. I declined any involvement very early on. I’d rather be in the audience not knowing what was coming, rather than being involved in the minutiae of making them.

It's not often that I read about actors that I'm going to be meeting. I get to read articles about actors who were going to come in, so I get to see someone and say, "Oh, I read that I was going to see you. It's very nice to see you."

I love movies with spectacle but spectacle can be a performance, it doesn't have to be a creature.