"Future films, my issue with them is that—and the reason like we're working on the Jetsons now—is it feels like it's so arbitrary. And I think there's something that's especially defined in the culture of the '60s, with drugs and futurism and the Dune backgrounds that eventually became the Star Wars backgrounds and heavy metal comics and all this (and heavy metal means it's a sci-fi comic; its just called heavy metal). And I wanted to create something that was a non-arbitrary future that's based on real life like architecture, like Corbusier and Pierre Paulin and, of course, Eames, and take some Bauhaus theories and mix it in. A lot of design theories that have proven to be true because the truth is, you walk in, and people have Eames chairs, so that's the truth—that everyone bought it.
And like I said, creativity is what half of the world, the culture, gives back to you, and [you] apply that. Because right now sci-fi stuff is completely arbitrary. Everyone thinks of a light-up suit: 'That's cool. Lets just roll with that.' No, it's people like Syd Mead, Elon Musk, [and Ray] Kurzweil that truly understand futurism and have real perspective on where we're gonna go, and what could be really interesting about the Jetsons, God willing that it all comes together in the right way, is that it could be a new stamp of our possibilities."