A lot of screenwriters have a drawer of unsold scripts that they cut their teeth on. I don't have one. Everything I've written, after my first spec, I wrote on assignment. Everything I've written was work.

The world may hold startling developments and shocking unknowns.

I would say that working with Ridley Scott makes the process of directing much more terrifying.

I studied physics at Princeton when I was a college student, and my initial intention was to major in it but to also be a writer. What I discovered, because it was a very high-powered physics program with its own fusion reactor, was that to keep up with my fellow students in that program I would need to dedicate myself to math and physics all the time and let writing go. And I couldn't let writing go, so I let physics go and became a science fan and a storyteller.

Everything I learn about the world, whether it's the simple arcana of how commercial products are manufactured and designed and how they reach our shelves and where the chips come from and who does the code, to more profound things like whether or not a black hole might be penetrable as a wormhole, whether or not universes might be accessible from here, whether space can be stretched and compressed to enable faster-than-light travel without violating physical law - all of those things have tremendous story potential.

I will never probably have the mathematical foundation to truly understand what string theorists are talking about, but it feels good, just for its own sake, to get as close to an understanding as you can.

I mean that much more than wiser beings from beyond the stars bringing us enlightenment or death or salvation, we are likely to find ourselves the wisest beings on the scene.