11 quotes found
"Unsere Kinder verlernen grundlegende Fähigkeiten, um selbst kreativ zu sein. Sie sehen fern oder spielen Videospiele. Ich dagegen finde nichts daran verkehrt, mal ein gutes Buch in die Hand zu nehmen oder Buntstifte und Zeichenpapier. Damit betritt man den größten Kinosaal der Welt: das Gehirn."
"How could that have happened? ... Even if it was a hand of God … I’d read – and I don’t know how they know this – but in approximately 3000 BC there was a massive undersea volcano and earthquake, which created a tsunami wave that had to have been a couple of hundred feet high. Just off the heel of Italy. Diagonally across you’re staring right up the mouth of the Nile, so I’m wondering if that had anything to do with that."
"I'm really intrigued by those eternal questions of creation and belief and faith. I don't care who you are, it's what we all think about. It's in the back of all our minds."
"I do despair. That's a heavy word, but picking up a newspaper every day, how can you not despair at what's happening in the world, and how we're represented as human beings? The disappointments and corruption are dismaying at every level. And the biggest source of evil is of course religion. … Can you think of a good one? A just and kind and tolerant religion? … Everyone is tearing each other apart in the name of their personal god. And the irony is, by definition, they're probably worshipping the same god."
"I honestly wasn't paying attention in school when I was told the story of Moses. Some of the details of his life are extraordinary."
"Just stare up at the stars at night, and you'll have those corny thoughts like we all do. How can you look at the galaxy and not feel insignificant? How on earth can we be it? It doesn't make sense. … It doesn't matter how much faith you have or don't have. I just don't buy the idea that we're alone. There's got to be some form of life out there."
"I think he writes the truth. Because life is like that most of the time in some shape or form, whether it’s illness or the end of the world. Cormac’s a writer’s writer. You read his writing and think, I can do that, and then you sit down and try. And you try, dude."
"Most novelists are desperate to do what I do."
"Universe to me is, if you’d like, the final character. Your landscape in a western is one of the most important characters the film has. The best westerns are about man against his own landscape. I think people have lost the ability to do that."
"Oh, it was always my thesis theory. It was one or two people who were relevant were... I can't remember if Hampton agreed with me or not. But I remember someone had said, “Well, isn't it corny?” I said, “Listen, I'll be the best fucking judge of that. I'm the director, okay?” So, and that, you learn -- you know, by then I'm 44, so I'm no fucking chicken. I'm a very experienced director from commercials and The Duellists and Alien. So, I'm able to, you know, answer that with confidence at the time, and say, “You know, back off, it's what it's gonna be.” Harrison, he was never -- I don't remember, actually. I think Harrison was going, “Uh, I don't know about that.” I said, “But you have to be, because Gaff, who leaves a trail of origami everywhere, will leave you a little piece of origami at the end of the movie to say, ‘I've been here, I left her alive, and I can't resist letting you know what's in your most private thoughts when you get drunk is a fucking unicorn!’” Right? So, I love Beavis and Butthead, so what should follow that is “Duh.” So now it will be revealed [in the sequel], one way or the other."
"I had a very specific moment where I had watched Blade Runner [1982] – at home on VHS, not in the cinema because I was then too young. I became obsessed with it, the beauty of the density and layering of the imagery. And then, when I was old enough, I watched Alien [1979], and as when you hear two pieces by the same musician, or read two books by the same writer, I distinctly remember realising it was the same mind behind these two different movies. I had been making my own films, just shooting things and cutting them together, but suddenly, at the age of 13 or 14, I understood directing – the closest thing to what defines filmmaking for me. Realising that there was a mind controlling that aesthetic, that feeling at the end of the film. And it wasn’t any one thing: it was photography; it was sound; it was costumes… It was control over the whole mise en scène. My realisation was very particular to Ridley Scott, and my love for his films and obsession with the way he was doing things."