We obviously come up with these ideas based on the storytelling, what's cool to us. But then our masters will provide us with resources to do this stuff if there's a potential revenue stream down the line. So we're scratching each other's backs.
Suffice it to say, there are some very big ideas in Prometheus and, therefore, it covers a very vast expanse of time.
Good twists are enormously hard to come by, and I think the best ones are earned ones. The idea that a story can take a left turn on you, it's easy to do, but it has to be done very, very carefully, or else you risk losing the audience's trust.
A lot of writers whom I love, admire and call friends share this feeling, which is this fundamental idea that we're frauds. That we will be pushed out on to the stage, and it will be revealed that the emperor has no clothes.
As cliched as it sounds, if you have an original voice and an original idea, then no matter what anybody says, you have to find a way to tell that story.
Hindsight is 20/20, but the moral of the writing is that when you're feeling very scared about something and convinced that it could be a massive disaster, that's exactly the idea that you should do.
I'm not sitting around thinking of ideas for TV shows.