I personally am not so obsessed about immortality for myself. The human body has been designed that way, obsolescence is OK.

But in a TV series, you can really take a novelistic approach and explore characters that you wouldn't ordinarily see, in a level of complexity that you wouldn't ordinarily get to explore just out of the sheer time constraints in a feature.

I've always had a problem with over-identification with inanimate objects.

The biggest thing my parents gave me was this feeling of, not 'dream big,' but strive big.

There are very few video games where there are - like, completely pacifistic - and if there are, I tend to play them - 'Dance Dance Revolution,' there was a game called 'Flower' that I really enjoy.

What does the future of 'Westworld' look like? I don't necessarily think that we've seen the last of these artificial worlds that are central to the concept of our series as a whole. But the major lens that we will have is going to be the real world.

We can understand both our nature and our nurture, but understanding is only the first step.

Don't just sit there dreaming; dreaming is the luxury of the rich.

The humanities are not something that get you a pension and health insurance.

Holding women to the idea of 'write what you know' subtly reinforces the status quo. Writing is a chance to celebrate who we are. But it's also a chance to celebrate who we could be.

Growing up, I would take out books from the school library and hide them in the hamper. I'd wait until my parents fell asleep, and then I'd sneak into the bathroom, turn on the light, and dig out the books and read all night.

There's nowhere that looks like Singapore; it's absolutely beautiful on a purely aesthetic level.

One of the many delights that I found in directing was that you plan so many things so meticulously so that they go smoothly. But you also have to leave time and space for spontaneous emotional moments to arise.

Even though I grew up in America, at home we spoke mostly Chinese, because my mom is from Taiwan.

When you start to think about the drives that humans have, I think sometimes we find we are simpler than we thought and more easily manipulated.

The reality is that 'Westworld' is designed so that guests can indulge with impunity their every fantasy - be it light or dark. So the hosts experience the extremes in human behavior, good and bad.

For me, writing became a way of processing not just my own experiences, but the experiences of other people, and their pain.

Since time immemorial we've explored these ideas of tragedy, the things people do for love, the great weight that occurs when love is taken away and the great length and the heroism that people will exhibit to fight for the ones that they love.

I wanted to go to Harvard because it felt like it would be the Hogwarts Academy of law schools.

The great thing about fiction is you can talk about things without being didactic about them, but hopefully forge a connection with people and an understanding about a shared humanity that tells its own story.

And I think the greatest danger that AI poses isn't so much these anthropomorphic beings who look like us and are beguiling are going to fool us. It's the fact that a intelligence without a body or corporeal form will fool us into trusting it with data, which we seem to think is... it has no repercussions.

The sad thing is I don't think I've seen 'Jurassic Park.' Not that it's not an amazing movie, I literally didn't watch film or TV until I was 23 or something.

What's so bad about Google knowing I need Kleenex? Look at it in the aggregate - see how information... can be used to target people based on their profiles and change the course of human history, as I believe it is already beginning to do. This knowledge that I need Kleenex has bigger complications than just needing Kleenex.

I've tried to always be incredibly overprepared in everything that I've done.

How many of us have these demons or habits or things we don't like about ourselves and understand the loops that we're in and yet are unable to break out of them and create lasting change within ourselves?

You know, both my parents aren't really from this country, and the emphasis was really on education and studying, and TV seemed like it was not the best use of my time for my parents. So ironically, of course, I rebelled completely and now it's how I make a living.

Feeling trapped in identity isn't just the purview of women and minorities.

In a film, you only have a finite amount of time, and you're so concerned with saying what happened and making it a gripping short story with a satisfying ending.

A lot of times, people say, 'My work didn't suffer with family.' I would go a step further: My career only flourished upon having children. It got better.

You have to be very specific with the suggestions of how you want to show things, not just with dialogue but also place and mood. I write all of that as very vivid guidelines so directors can come in and do what they will with them.

For me, when I started writing, it was mostly poetry. And poetry is very visual. I feel the same way about the way that I approach direction. There might be a theme within the visuals that you're choosing that people don't consciously pick up on, but that they feel.

I didn't need a harassment scandal to break out in Hollywood or misogynistic people in government to know they exist. Anybody who's a woman, a minority, or a thinking, perceiving male can see that it exists.

But I'm the child of a tiger mom.

I was actually born a robot, so 'Westworld' is just autobiographical.

We subverted the entire premise of 'Westworld' in that our sympathies are meant to be with the robots, the hosts.

Another writer might question whether you're feeling competitive. But if I talk to Jonah, I know that he truly values my success more than his own. And I truly value his success more than my own. There's a generosity there.

Part of what you try and do when you're writing is to just transcend politics and the moment in a way and talk about something, those fundamental building blocks of building nature.

No matter how long my day job hours were, I always made time to write. I wrote fiction, short stories, and poetry. I never shared it with anybody.

I had a lot of college debt. It's very difficult to go to a university that is as expensive as Stanford and then blindly follow your passions when they don't immediately make money out of the gate.

I don't see much of myself in the traditional Western hero.

Even if you live to be a ripe old age, you live long enough to see the people you love pass away.

Our memories, the way we tend to experience them, are sort of fuzzy around the edges, like a watercolor that has bled into the past and is not totally clear.

Fiction has always been a way of examining society and its flaws and trying to expose them.

I feel like there is just never a good time for taking a chance and following your dreams - whatever those dreams are.

It's important to have people who will question you occasionally.

When I write a script, I have all the old versions of the script on my laptop. They're saved as backups in case something goes horribly wrong.

I do love Westerns. But, in a way, traditional Westerns, for me, have been hard to love viscerally and personally.

Working on 'Westworld' has been an incredible experience in learning to make something with the scope of a feature on a TV timeline with a budget nowhere near what you would expect for a feature film equivalent.

I've always been fascinated by memory and I remember Jonah, when we first started dating, was working on something involving memory. It was early on in our relationship and I was like, damn it, I wanted to do a movie on memory. That was 'Memento.'

When we were thinking of 'Westworld' and doing it with HBO, what they really showed us is that they have the ambition in their network, and they value production value as much as we did, and that that would be a perfect place to do a show of this scope and this ambition.