I'm not very precious at all, which I think people find surprising.

All of a sudden I pulled up short and harked back to Ridley [Scott] holding up the script in Manhattan, at the St. Regis breakfast room, and saying, "It's very visual, isn't it," and realized it was the key to my whole life since then.

There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film.

There's always a great hue and cry when you sign onto a "remake," and that's always been sort of annoying me and freaking me out. This profession that we're in is drama. What drama has been since the beginning is, you restage plays with new casts, or a writer will take a new run at an old story.

I was always entirely about work, about getting where I am now. If I'm not working I'm thinking about it, though at some point I learned not to talk about it very much.

Star Wars was great at the beginning and crap at the end while Star Trek has always been interesting, and the difference is in the writing, and the thematic intentions.

Some reviewer might be out there saying, obviously Edge of Darkness didn't come off because of the script, blah blah blah, but everybody has read the script, except the journalist attacking it.