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.

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.

You don't control whether your movies get made. You can't. All you can control is whether your draft is great. So, you write your great draft, as best as you can, and then move on to the next thing.

When a new writer comes onto a project, he'll make wholesale changes just to mark the territory or for greater credit.

I think my first love is film. There's something about the span of it and the completion of the experience. You sit down for two hours, in the dark, and you go somewhere else, and then you come back, having completed a journey.

The science fiction I write comes from a pretty deep pool of literature, not just from the reflection of other science fiction films, and I think that gives me somewhat deeper roots.

Real space movies have to involve zero gravity and a world without up or down.