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We're always pitching ideas and being told no thank you. No offense taken, because I would so much rather be told the truth that they're not interested and be able to find the right show for that network down the line.

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
Able
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Ideas
Told
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Right
Taken
Pitching
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Rather
Network
Always
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Offense
Would
Shows
Thank
Truth
Interested

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Whenever I've directed something, there's this feeling of demand and focus that I like.
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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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I don't want to do something that is so inside that only die-hard fans will appreciate.
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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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Whenever you're playing sports with people who are better than you are, it makes you rise to the occasion.
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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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I love working with the right actor, and if the right actor happens to be unknown, that should be allowed, too, I think.
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I don't think anyone wants a movie on time that's not worth your time.
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There's nothing wrong with doing sequels, they're just easier to sell.
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We used to have more references to things that we pulled out because they almost felt like they were trying too hard to allude to something.
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It's what happens. You love, then you lose, then you die. Even if you survive, you die.
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We live in an age of instant knowledge. And there's almost a sense of entitlement to that.
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Withholding things in a story is no good if you aren't building to something substantial. It becomes foreplay without the main event, and no one wants that.
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Maybe there are times when mystery is more important than knowledge. I realized that the white page is a magic box. Ultimately, the mistery box is all of us. Ubiquitous technologies. What comes next ? Mystery as catalyst for imagination.
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What I'm still grappling with and learning how to do is to be looking and thinking cinematically, having come from television.
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Ratings have changed, viewer habits have changed and the options for the audience have grown enormously, but I don't think how you tell a story is fundamentally different.
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With three kids you are just trying to survive. You can't be fastidious.
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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 was just like, I want to make a decent 2-D movie. I was so worried that, instead of being a decent 2-D movie, it would have been a bad 3-D one.
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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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