Kodak has always represented innovation that is approachable while delivering the craft of filmmaking.

I imagine a future with no waste; material innovations have already become exponentially more vast, and I do think the future needs to be cradle to cradle. If designed properly, one product could be used for many years before needing to be recycled, or its components reused.

I know it's a cliche, but I see myself as a citizen of the world. I was brought up in Switzerland by German and Turkish parents but I've very much grown up in San Francisco. I have a European sense of aesthetic, but I'm also deeply steeped in the notion of change and entrepreneurship that is associated with Silicon Valley.

Design certainly has a cosmetic, aesthetic aim. It always aims at making things beautiful. But relevance is just as important. I often say, 'If it isn't ethical, it can't be beautiful. But if it isn't beautiful, it probably shouldn't be at all.'

Oil drilling and coal mining are killing endangered wildlife, polluting rivers, creating smog over wilderness areas and blocking wildlife corridors in America's most treasured landscapes.

There are nuclear weapons in China, Iran, Korea and Pakistan. It wouldn't take much to send a couple of warheads off on this planet somewhere that would cause a lot of environmental damage, then if you have got someone who wants to retaliate you have real problems.

By isolating the issues of race, gender, sexual orientation, climate change, environment, governance, economics, catastrophe and whatever other problems the present embodies or the future may bring, science fiction can do what Dickens and Sinclair did: make real the consequences of social injustice or human folly.

Every state that addresses climate change emboldens the others, just as shifting public attitudes embolden politicians and, arguably, the court system.