When it comes time to put [the ships] in situ and show how they would work in the universe, you tend to be a little more hands-on with that. Is that accurate?

Basically, yeah. My methodology is that I try and give the concept artists as much leeway to put themselves into the ship, basically. I don't want to be micromanaging, but if things aren't going right, then I will dig in. We've done interviews recently where, and definitely in the last two years, there's been ships where I've started to do a lot more hands-on in those early stages as well. Generally the concept artist is still finishing off the vehicle or the ship. And so I jump ahead, often do paint schemes and that good stuff, and then start working with Will and the marketing team and Turbulent. Okay, how do we want to... it's a lot more formalized these days. So it's, okay, what are the beats that we're trying to hit? What does the website want? What does the brochure want? Those simple days are gone.