There's a lot of superhero stuff out there and a lot of cop stuff out there. What we have very little of anymore is adventure.

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 like to get emotional when I watch my entertainment.

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

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.

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

Usually when you're doing a season one, you're trying to find the show.

We all want our children to be terrific, but you can't force a child into being what you want it to be.

We're often accused of trying to manipulate opinion or that we're trying to elevate society. I think that the greatest thing we can do is to give you a vacation.

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.

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

I haven't had the egomaniac star yet in any of my films. It's always been a pleasure.

When I first came to Oregon, the annual amount spent on production was $1 million to $1.5 million. By the time 'Leverage' was done, there had been over $100 million in production that year.

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.

Just to be back in the world of 'The Librarian' again was such a joy.

There is a renaissance of really great genre entertainment happening. But it's become incredibly audience-specific.

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.

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.

'Independence Day,' ever since we did it, there's been enormous pressure to follow it up.

We did the original 'Stargate' as an independent movie. It was a surprise success. Shortly before the movie came out, the financiers who were frightened the movie might not do well sold the film to MGM. When the film came out, it was a hit and spawned TV shows.

Of all the projects I've ever done, 'Stargate' is the only one from the beginning intended to be a trilogy. We always wanted to do parts two and three, but the thinking was they didn't want to do anything other than the TV series.

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

I don't think you can figure this stuff out. If you could figure all this stuff out, then all the great filmmakers would come out of Yale and Harvard. It's not an intellectual process.

We intellectualize it, and we rationalize it, but it's really about a love of movies, and I think whether you're making an art film or you're making a genre film, if you don't really love that movie you are trying to make, you'll be able to tell.

These audiences are so damn smart, way smarter than the studios give them credit for.

I think that I do about 85% of what I used to do on my computer now on my iPad.

We're making high-budget movies with a low-budget attitude.

I've always lived by this philosophy, when it comes to conspiracies, never to attribute to deviousness that which can be explained by incompetence.

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.

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.

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.

When you convince sci-fi fans you've done something cool, you get them in huge numbers.

Everybody already knows what Godzilla is.

If you were around when 'Them!' or 'Tarantula' came out, those effects were as good as you had ever seen.

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.

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.

The truth is, we were sick of, every time we finished a movie, having to start all over again from nothing, going to a studio, pitching an idea, setting up a new office.

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

In movies, we've run out of ideas for bad guys. We end up with politically incorrect villains, like Arab terrorists or Latin drug dealers or corrupt politicians. Well, aliens are the best film villains since the Nazis. You don't have to worry about offending anyone.

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'm a huge Trekkie.

Stories about travelers coming into town and doing good have been part of our storytelling since the Bible.

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

A lot of sci-fi shows are very cold, too concerned with hardware.

We don't over-manage projects like the studios do.

There's a real difference now in what you can get out of film and the rise of digital platforms.

We're going to come back to Oregon, whether it's with another show, or a pilot, or a movie. We love working up there. I think it's got one of the most amazing talent pools of any state in the union.

'The Book of Love' is the kind of James L. Brooks mainstream movie that the majors are ignoring.