I also like to look at the dynamic that takes place between religion and science because, in a way, both are asking the same questions: Who are we? Where do we come from? Why are we here? Where are we going? The methodologies are diametrically opposed, but their motivation is the same; the wellspring is the same in both cases.

You don't buy into huge car chases or sensates or interstellar warfare, but you can buy into a loving relationship or a father-son relationship, and you can buy into the small humor. If you want to make your fiction universal, go small. That's the best way to do it.

Captain John Sheridan: I wish I had your faith in the universe. I just don't see it. Delenn: Then I will tell you a great secret, Captain. Perhaps the greatest of them all. The molecules of your body are the same molecules that make up this station , and the nebula outside, that burn inside the stars themselves. We are starstuff. We are the universe made manifest, trying to figure itself out. And as we have both learned, sometimes the universe requires a change of perspective.

Science fiction shows are traditionally about the gimmick or the gadget and tend to be emotionally cool to the touch.

When writers don't know what to do with a character, they build up the supporting cast and universe to kind of hide that fact. After a while, you can no longer see the character for the underbrush. When that happens, you need to bring out the weed-whacker to clear some of that away so you can focus on the main character.

All you can do is focus on telling the best story you can with compelling characters. If you do it right, it will endure. If you do it wrong, it won't.

The point of mythology or myth is to point to the horizon and to point back to ourselves: This is who we are; this is where we came from; and this is where we're going. And a lot of Western society over the last hundred years - the last 50 years really - has lost that. We have become rather aimless and wandering.