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I loved, in 'Starman', the use of anamorphic lenses, the creation of blue light, and Carpenter's use of the widescreen format.

Starship Troopers was great. It was great fun to work on something with blue screens and big budget special effects. Denise Richards was nice to look at too, of course.

Superstar was made so early in my career I had nothing to do with it at all. The first time I saw it was the opening screening.

'Green Screen' was a total experiment. I'm glad we did it, but it was just tough on that network to get it going.

I was very pleased with the way that the show ended creatively and personally. It just feels like we've completed the piece. And now to be able to step back a little bit and look at it from beginning to end, I feel good about the complete story that is 'Battlestar Galactica.'

Of all the stars whom I worked with, I think Steve knew better what worked for him on the screen than any other. He had such a sense of what he could register, and that helped a lot in terms of shaping the character and the script.

That was always my frustration with so many of these shows, because design is not an ambush... it's a relationship. You have to know how people move and live and work to be able to design for them.

I saw Cheap Trick play 'In Color,' and it was awesome.

I loved 'The Artist.' I thought it was fantastic.

And of course Marc Cherry heightens it and makes it hilarious. But there's so many universal themes in the show, and he made it so funny. We knew he was onto something if he could keep it up and, thankfully, he did.