Following a pre-cellphone world of children on an adventure is incredibly appealing for me. These are the kinds of movies I fell in love with and made me want to be a filmmaker in the first place.

I think we have a culture that creates heroes and then needs to knock them down, and then you have to see what the third act brings.

I always wish I had another shot at it. But, listen, 'Godzilla' is something that I grew up loving. We worked hard to go make one. We kind of blew it. I think everyone gets one.

I can tell you as a fact that if you'd asked anyone in Hollywood one year before 'Pirates of the Caribbean' had come out, they'd have told you the pirate movie was a dead genre. And it's not that it's a dead genre. If you make a bad pirate movie, no one will want to see it. If you make a good one, everyone will want to see it.

That transcends everything - skipping the transfer of dailies is a game-changer.

It's always hard to watch something you create be put in somebody else's hands.

In Portland, there are so many trained artists and technicians, there's an enormous talent base. And it's not like second-stringers.

In the '70s, you didn't know who was going to survive in a disaster film.

I know I screwed up my 'Godzilla.'

'Librarians' is surprisingly touching in a lot of ways where it's not expected.

I like to get emotional when I watch my entertainment.

There's no doubt in the world that I am the biggest 'Doctor Who' fan.

I like to make popcorn movies. It's my passion. I love the genre.

I think there's a lot of factors that go into the whole awards thing. I've never been that big a fan of it.

Filmmaking is a real democracy - it's up to the audience to vote with their tickets.

We are cannibalizing our audience by only giving them regurgitated material. Every movie is either a remake, a sequel, based on something else. Based on a former television series. Based on a successful videogame.

The great thing about adventure, when told correctly, is it is one of the few genres that everybody in the family can watch together.

I just make the movies I want to see. I've always been that way.

I think if we did 'Stargate' right, the fans would like it, and we could do something really good. But if we screw it up, they'll reject it. As they should.

We've always had a simple philosophy in casting. We don't care if somebody's a big star or a little star. We just want the best possible actor for the part.

We make movies that crack us up and hope that they crack up other people, too.

Spielberg is our hero. For him to make a nod to 'Godzilla' just before we make our movie is like getting the king to acknowledge you at dinner.

We have to put people on pedestals; otherwise, there's no one to knock off pedestals.

I've always said that I don't believe in Santa Claus, but I could make a great movie about him if I set my mind to it.

There are an enormous amount of techniques I wanted to beta test in television. You can't take those risks on a $100 million movie.

The budget on cable television is dramatically less than network television.

It was somewhere in doing the last season of 'Leverage' that John Rogers and I became confident that we had developed an all-new production technique where we could put more on the screen with very little money. So we started to get more comfortable with the idea of trying to tackle 'The Librarians.'

Paramount Pictures is a perfect partner for Electric Entertainment, with the most stable group of executives in Hollywood and unparalleled global promotion and distribution reach.

That's one of the best things about the RED ONE - I can use all the best lenses that have been used in film forever.

We have to produce a high-quality show, but we have less and less time and money to do it. If you are using the tapeless approach to save money, you will.

Had the car companies continued to do generation two, generation three, generation four of the EV-1, we'd be looking at a spectacular car today.

I think when real life interrupts fantasy, it's always shocking.

We always want our leaders to be great leaders.

Television is like speed chess, as you have no time and no money. It is like trying to play Grandmaster chess with a 20 minute timer. The rewards are great, though, as it moves faster and you get to see the finished results much quicker.

John Rogers has an encyclopedic mind. Having John as our showrunner is the gift that keeps on giving. He knows more trivial information than anyone I've ever met in my entire life.

In tough times, we all hope for knights in shining armor, or the cavalry, to show up and effect change.

The movie business is not something that can come from the brain. It really comes from the soul and the heart.

I would love it if the whole 'Godzilla' franchise was revitalized for a new generation.

We had an amazing experience shooting the first season of 'Leverage' with such a talented cast and crew and with the full support of TNT behind us.

When you look at our Godzilla, you won't feel any nostalgia.

The real trick to these movies and making the big action sequences work - and I've forgotten this sometimes and screwed it up - the characters really have to be humanized. Because you can have the greatest special effects in the world, but if you don't care about the people in those effects, there's no impact.

I don't think these weather conditions are going to get better on their own.

There are amazing behind-the-scenes technicians in Portland who didn't want to raise their families in L.A.

It's fun to watch a show that you can watch with any member of your family, and you're going to laugh, and you're going to be moved, and you're going to have fun, rather than this dark, brooding, cold, 'purely procedural show.'

With 'The Librarians,' we want to be a smart, fun, crazy, genre show, but we also want to be something that people of all ages can watch and enjoy. That, to me, does seem to be increasingly harder to find.

I don't think of myself as a former actor. I think of myself as a reformed actor.

We took over with 'Leverage' three warehouses, and now four with 'The Librarians,' and turned them into proper sound stages with sound doors and all the lights. We now have control of four real, proper-sized sound stages. The problem is they're dark and empty half of the year because there aren't enough productions coming into Oregon.

Most young American actors feel like teenagers.

We're so specialized now in our entertainment. It's nice to do a show where you're really circling back to this idea of, 'Couldn't there be a show the whole family can watch together?'