Technology continues to bring us wondrous advances in filmmaking to improve how we view movies.
I think, at the end of the day, filmmaking is a team, but eventually there's got to be a captain.
In science fiction, we're always searching for new frontiers. We're drawn to the unknown.
How can you look at the galaxy and not feel insignificant?
The great attraction to 'American Gangster' is these two great characters who are absolute paradoxes within their own sphere.
That's part of the policy: To keep switching gears.
I watch a lot of 'National Geographic.'
But Gladiator is one of my favourite adventures because I really loved going into the world. I loved creating the world to the degree where you could almost smell it.
I watched Someone to Watch Over Me the other night. I thought it was a really good movie. It's a great movie.
A word on 'Kingdom of Heaven:' if you get the four-disc set, which is 3 hr. 8 min., you'll see why it's such a good movie. It was a real passion project, and it's the film I'm most proud of. I think it was treated incredibly unfairly.
It's very difficult to find good scripts in Hollywood any more.
Perhaps because of my background as a graphic designer, I'm drawn to rich and beautiful colors.
'Prometheus' was a great experience for me.
The great film editor is not a cutter, he's a storyteller, right?
The very first film I ever saw was a pirate movie called 'The Black Swan' with Tyrone Power. And I thought that was great stuff. Of course, in those days, Technicolor was really Technicolor; there was no such thing as desaturation. Everybody looked super suntanned.
I used to agonise over what to do next, but now I'm making a movie a year. It's insane, but it's only a movie after all. You just hang in there, and occasionally you might make something which you can call art... briefly.
Doing science fiction at a high level is tricky. It's really tricky.
Because I was a kid from north of England, the only films I had access to was not alternative cinema, which in those days would be foreign cinema; I would be looking at all the Hollywood movies that arrived at my High Street.
I think there's nothing worse than inertia. You can be inert and study your navel, and gradually fall off the chair. I think the key is to keep flying.
By going to a preview, a director becomes insidiously infected by the process, so by the end of it, you're thinking, 'It may be a bit too long.'
