J.J. Abrams

Overview

Born
June 27, 1966 · New York City, New York, USA
Birth name
Jeffrey Jacob Abrams
Height
1.70 m

Mini Bio

Family

Spouse
Children
Parents

Trademarks

High-tech, action-packed entertainment
Often includes a subplot about a box with mysterious contents
[Cold opening] A suspenseful sequence before the opening credits used to pull the audience directly into the story (Nhiệm Vụ Bất Khả Thi 3 (2006), Star Trek: Du Hành Giữa Các Vì Sao (2009)).
Often uses music by Michael Giacchino
Often makes references to elements of Star Trek (1966)

Trivia

He says he got the job directing Nhiệm Vụ Bất Khả Thi 3 (2006) after Tom Cruise watched early episodes of Bí Danh (2001) on DVD and loved them. The two started hanging out together and Cruise offered him the job.
His debut film Nhiệm Vụ Bất Khả Thi 3 (2006) was the most expensive film ever made by a first-time director until Trò Chơi Ảo Giác: Kế Thừa (2010), directed by Joseph Kosinski, which cost nearly $20 million more than MI3.
Is the first director to have directed both a Star Trek film and a Star Wars film.
Is a huge fan of Miền Ảo Ảnh (1959), with his favorite episode being Walking Distance (1959).
Frequently uses the name Kelvin in his movies, which was the name of his grandfather. Examples: the character Kelvin Inman from Mất Tích (2004); the postcard addressed to H. Kelvin from Nhiệm Vụ Bất Khả Thi 3 (2006); the USS Kelvin from Star Trek: Du Hành Giữa Các Vì Sao (2009) and Star Trek: Chìm Trong Bóng Tối (2013), Kelvin Gasoline from Quái Vật Vũ Trụ (2011) and a location named "Kelvin Ridge" from Chiến Tranh Giữa Các Vì Sao Tập 7: Thần Lực Thức Tỉnh (2015).

Quotes

Chiến Tranh Giữa Các Vì Sao Tập 4: Niềm Hi Vọng Mới (1977) is probably the most influential film of my generation. It's the personification of good and evil and the way it opened up the world to space adventure, the way westerns had to our parents' generations, left an indelible imprint. So, in a way, everything that any of us does is somehow directly or indirectly affected by the experience of seeing those first three films.
I feel like in telling stories, there are the things the audience thinks are important, and then there are the things that are actually important.
Directing's the best part. Whenever I've directed something, there's this feeling of demand and focus that I like. And secondly, it means that you've gotten through all the writing stuff, and the producing stuff, and casting, and prep, and all those stages that are seemingly endless. So directing is sort of the reward for all the work you put in before. And then there's the editing, which is another amazing stage of the process. It's incredible the moments you can create.
I'm an impatient guy and tend not to like to stay with one thing for a long time. I'll never be able to write as many scripts as I did for Felicity (1998) or Bí Danh (2001) ever again. I'm just too impatient these days. I want to get on to the next project.
I've always liked working on stories that combine people who are relatable with something insane. The most exciting thing for me is crossing that bridge between something we know is real and something that is extraordinary. The thing for me has always been how you cross that bridge.