Jon Spaihts Quotes

The multiverse as a real physical construct within physics overlapping with a more mystical understanding of many possible worlds - the notion of there being a root down at the quantum level between intention and reality, between consciousness and existence - it's not a matter of trying to explain the mystery of magic away with a pat mechanism of a pseudoscience, it's just a matter of trying to ground it in a domain.

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.

The reality of space travel I think is somewhere in the middle. We will get there, it will be hard, it will take a long time, and in the end, the most extraordinary thing we will find when we get there will be ourselves.

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.

I grew up a really nerdy kid. I read science fiction and fantasy voraciously, for the first 16 years of my life. I read a lot of classic Cold War science fiction, which is much of the best science fiction, so I speak the language well, which is a commodity that's not easy to come by in Hollywood.

Once you've written a good script, it will get made or not get made, according to variables you cannot control, like stars getting interested, and the superstitions in Hollywood rising or falling around what is over and done with versus what's in.

Space and spacecraft and zero gravity and so forth are very difficult to render.

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

A lot of screenwriters have a drawer of unsold scripts that they cut their teeth on. I don't have one. Everything I've written, after my first spec, I wrote on assignment. Everything I've written was work.

I studied physics at Princeton when I was a college student, and my initial intention was to major in it but to also be a writer. What I discovered, because it was a very high-powered physics program with its own fusion reactor, was that to keep up with my fellow students in that program I would need to dedicate myself to math and physics all the time and let writing go. And I couldn't let writing go, so I let physics go and became a science fan and a storyteller.

I never stopped loving the deeper sciences, and I read as deeply into lay science as I can.

I try to keep up, and the scientific perspective is always part of my creative approach.

I will never probably have the mathematical foundation to truly understand what string theorists are talking about, but it feels good, just for its own sake, to get as close to an understanding as you can.

You need a human story to intersect those points of interest with real stakes on the line, and then things start to be fun, where you can see the ramifications, you see the impact on people's lives of big changes - like taking a man of science, like a surgeon, and robbing him of his understanding of the universe and forcing him into a newer and wider understanding.

Most of my life, I thought that I would end up a novelist. But then, in New York City, after college, I started a company with a college friend where we made documentary video for museums. In that capacity, I shot, directed, edited and began to learn the vocabulary of film.

I'd wanted to be a writer since I was knee-high. Once I knew that books were written by people and didn't just happen, it was obviously that I would write them, too.

Directing offers you the hope that your vision will reach the screen, unmolested and intact. Therefore, it's tantalizing to all writers.

The more you learn about the real vastness of space and the real challenges of space travel, the more completely you appreciate the necessity of taking very good care of this world and being good stewards of it.

It is true that, with TV, a writer gets a great deal more respect.

For a successful writer, the secret is to have many irons in the fire. Write the next thing.

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.

I think the greatest danger of the promise of space travel is that it can lead us to be cavalier about the world we live on, if we assume we can find or make more worlds. I think in our lifetimes we surely will not, probably in the lifetimes of our great-great-grand-descendants we will not.

Making the right choices on the worlds we explore is going to be our biggest challenge.

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.

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 world may hold startling developments and shocking unknowns.

Now with the international space station generating a bunch of video, and Space X and other companies pursuing private space flight, I think it's on all of our radars much more than it has been since the moonshots. The science of filmmaking is making these visions possible now.

Real vectoring in space, real orbital mechanics, is very counterintuitive, very strange, and very hard to render. It's expensive, and there's a learning curve. Some of it is about raising audience literacy to the point where they understand that.

An X-wing fighter flies like an airplane. If you look at the physics, it's actually quite impossible.

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

I would say that working with Ridley Scott makes the process of directing much more terrifying.

You want the mystical understanding of the cosmos to feel compatible with a scientific understanding of the cosmos, like it extends our understanding rather than unwriting it.

You want magic to feel real.