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'Stargate' has always had this empty hole. When we made the first one, we always intended on doing part two and three, and we were prevented for years. And our hope is that we can get another chance at 'Stargate' and tell the entire story we wanted to tell.

I know I screwed up my 'Godzilla.'

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

Many years ago, I was actually hired to write the sequel to 'Independence Day.' And I wrote a sequel. And they paid me a boatload of money to go write this thing. And after I wrote it, I read it and I gave them back the money and I said, 'Look, this is an okay movie I just wrote. But it's not worthy of the sequel to 'Independence Day.'

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

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

There was no studio involved when we made 'Stargate.' It was financed through Le Studio Canal+ in France and, after the film was finished, it was sold to MGM. When the film was a success, MGM decided to do a television series based on the movie.

I hope to make the most expensive movie in history at some point!

When I tried to get 'Stargate' made, I took it to every studio in Hollywood and every studio said, 'Sci-fi is dead. It's a dead genre. No one wants to see science fiction anymore.' And I had to go and raise the money independently to make that movie.

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.

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

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.

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.

As for 'Independence Day,' we never intended to do any films in that series beyond the first one.

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.

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.

The advantage of the Genesis is that it's a rock-solid camera, made by a company with an enormous history and a huge support base. Plus, it's very good in low light using all the Panavision lenses. The downside is that you're recording on tape.

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.

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

'Leverage' is meant to be based in Boston. But in one episode we're in New York, then another in Chicago, Florida, and Eastern Europe.

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

Portland is a two-hour flight from L.A. It has wonderful talent, and it hasn't been shot to death. I'm all in favor of it becoming a serious player in the industry.

Kurt Russell is the guy you know. He's not something out of a weight-lifting magazine or a cartoon character. The closest thing to him would have been Steve McQueen.

Most young American actors feel like teenagers.

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

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

We used to call them the storm of the century but now we're seeing what happens if we don't act fast enough - and real human beings are suffering because of that.

The days of family entertainment seem to have left us.

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

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

In the '80s, all the movies became predictable.

The scale of 'Independence Day' is much more than 'Stargate.'

'Stargate' was more a fantasy.

Portland has all the accoutrements of a big city, but the heart and soul of it is a small town, so that creates an intimacy in a large environment.

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

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.'

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'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?'

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 love what they do with 'Doctor Who,' where they have the series, and then they do a big Christmas movie special.

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 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.

There are three things that I'm addicted to when it comes to entertainment. In no particular order, One, I'm addicted to the cheer moment. 'Librarians' has plenty of them. Next, I feel that life is hard, and I want my entertainment fun, and 'Librarians' is fun as a Christmas party. And third, I like to be moved.

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.

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.'

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.

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.

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

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.

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