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I love movies, but I would love to write as many graphic novels as people would read from me.

I think the graphic novel form works, in practice, a lot differently from watching a movie. You can put it down and pick it back up whenever you want - something you can't do in a theater.

In a graphic novel, you have to allow for a certain amount of freedom on the reader's part to experience it how they choose.

There's a few things I learned from my experience on 'Hieroglyph.' First of all, I learned that building a world doesn't need to be as expensive as a summer blockbuster. Yeah yeah, newsflash, I know.

As I've probably said before, television exposes writers to far more of the nitty-gritty than film does.

Where do you go after something like 'Pacific Rim?' Which, for me, was such a moment, to have this thing and see it all come together, and it's big, and it has this cult following... You ask yourself, 'What's next?'

If you squint at 'Deadwood,' you can see 'Game of Thrones' coming. That's the show that first got me thinking 'Carnival Row' could be a series.

The writer is just so much more intimately involved in the television process than the feature film process.

'Carnival Row' is us looking at the stranger; 'The Curiosity' is the stranger looking at us.

If you look, like, in 1960, there was no such thing as an astronaut. It was a totally fanciful concept, but nine years later or whatever, we were landing on the moon, which is just astonishing.

I was way into 'Voltron,' Ray Harryhausen: anything with giant monsters, I was really into. Even dinosaurs - for a while, I wanted to be a paleontologist. So it's almost like primal, ancestral mythology to me, this fascination with monsters.

If it involved giants on any level, as a kid I was really wrapped up in that.

I grew up in the '80s, and you had these original, big-budget sci-fi adventure things all the time, not based on any source material - you'd have 'Gremlins,' 'Back to the Future,' 'E.T.' 'Ghostbusters,' the list goes on and on. I would love it so much if 'Pacific Rim' was but the first in a new wave of that sort of thing.

I feel like, as an industry, we've gotten too dependent on source material originated in other mediums.

There's a lot of possibility in the 'Pacific Rim' universe for additional stories to be told, whether that's additional graphic novels or animated series or video games or movie sequels.

We wanted it to be that you could go to the comic shop and read about the back story of 'Pacific Rim' and the drama inherent in it.

One of my earliest memories is seeing a 'Godzilla' movie - not just my earliest movie memory, but any kind of memory.

You have to think about space differently; you have to think about time differently when you're talking about a graphic novel versus a movie.

I would definitely, definitely love to do more comic work. I think, creatively, there's something that's differently rewarding about it than the rewards of filmmaking.

You don't naturally tend to identify with someone who's very different from you on the outside.

If I could pick any story idea or script I had that I wanted everything to go exactly right for, it would probably be 'Pacific Rim.'

In my experience, very few people walk out of a movie. You have them for two hours, and you're free to explain or not explain whatever you see fit.

Making 'Pacific Rim' was a lot like what you imagined making movies would be like when you were 12.

It seems so cliched and obvious, but write the movie you want to see in the theater.

When I saw 'Jurassic Park' as a kid, that was the first time I thought about making movies for a living.

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