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There's nothing wrong with doing sequels, they're just easier to sell.

J. J. Abrams

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J. J. Abrams
Age: 58
Born: 1966
Born: June 27
Actor
Composer
Executive Producer
Film Actor
Film Director
Film Producer
Film Score Composer
Manufacturer
Screenwriter
Showrunner
New York City
New York
Jeffrey Jacob Abrams
J.J. Abrams
J J Abrams
JJ Abrams
Sell
Sells
Easier
Wrong
Nothing
Sequels

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My work isn't any more important than anything else in the family
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I am lucky, I'm the first to admit that.
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I'd love to do a movie where the monster is human, where the issue is not otherworldly, or horror or science fiction.
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But I'm grateful for everyone who would want to read a spoiler because it means that they care and want to see the movie. I know what it feels like, as an enormous Star Wars fan myself.
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Obviously with the Internet and increased access to other means of watching shows, the audience has dispersed and is all over the place and that is a challenge.
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Well, we knew that we wanted to tell a story that made bold choices, and one of those bold choices was meeting a storm trooper and seeing who this person was. That's something that had never been done.
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People never know what they want, though everyone says they do. If they did, nobody would ever be surprised.
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Whenever a toddler sees a pile of blocks, he wants to tear it down.
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One of my favorite things about 'Star Trek' wasn't just the overt banter but the humor in that show about the relationships between the main characters and their reactions to the situations they would face there was a lot of comedy in that show without ever breaking its reality.
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When you work on something that combines both the spectacular and the relatable, the hyperreal and the real, it suddenly can become supernatural. The hypothetical and the theoretical can become literal.
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I have no style. There are certain people who just have a visual sense that defines their work. You could probably watch 30 seconds of anything they do and you'll know exactly who directed it. I don't have that skill.
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The ability of a television series to make adjustments is something you've got to take advantage of.
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I'm working on the Star Wars script today and the people in my office have covered up all my windows with black paper. I guess they wanted to make sure no one could see what I was doing. It seems rather extreme.
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I've always liked working on stories that combine people who are relatable with something insane.
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It's more important you learn what to make movies about than how to make movies
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It's a leap of faith doing any serialised storytelling.
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I have nothing against 3-D in theory. But I've also never run to the movies because something's in 3-D.
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When I was a kid going into the movies, you weren't force-fed information everywhere you looked about what the movie was going to be.
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There are always a bunch of ideas floating around and I do the best that I can to try to not do them. The ideas don't go away and, over time, are finally like, Okay, it's been around so long, I have to get this thing out, and it somehow ends up coming to some version of fruition.
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I don't think anyone wants a movie on time that's not worth your time.
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