Top 153 Quotes & Sayings by Duncan Jones - Page 2

Girls seem to get me in trouble a lot of times.

I know my dad's proud that I've done it on my own, and I'm happy with that.

Terry Gilliam, he's a really interesting and amazing film maker, and when he gets it right, it's really powerful stuff.

Film directing is really undermined if you attempt to do it by committee because there has to be a single vision as to how to tell a story. It's like if you were at a campfire, and everyone is taking turns to give one sentence in telling a horror story. It would be a mess - it's not going to make sense.

There's a depth to the look that you get with models that you just can't get with CGI. It's about the detail that you just wouldn't think to put in.

Eventually, I'm going to be judged purely on my own merits.

I thought 'The Social Network' was fantastic.

I went to college and graduate school, studying philosophy. I really did think I was going to wind up being a lecturer or professor of some sort.

I was such a big 'Dirty Dozen,' 'Where Eagles Dare,' 'A Bridge Too Far' - all those kinds of movies I loved.

I think, visually, 'Moon' probably owes more to the first half of 'Alien' and 'Outland' than it does to '2001.' The character of Gerty is obviously a straight rip-and-riff on HAL.

I think if you're young and you're being compared with a successful family member, it's really hard to maintain any sense of self-worth and credibility.

I'm not the guy who does slo-mo, or I'm not the guy who does splashing rain or doves flying or anything; that's not me. Every film, I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.

I was in my 30s when I finally went to film school. It was kind of always going to happen, but I did try to keep it suppressed for awhile.

I think everything you do, whether it's low budget things when you're first starting out or full feature films or when you're working with Hollywood, you're always learning, all the time.

I was a 'Warcraft' player myself, and when I pitched my take on the film, they said right away, 'That is a player. That is the game.' So I've had their support from the very beginning.

In the past, a lot of films based on video games think that the audience wants to experience what it's like to play the game, and that's absolutely not the case.

J. G. Ballard is just an example of the writers I like. Philip K. Dick is obviously one of them. I'm a big fan of William Gibson as well. He started cyberpunk with 'Neuromancer.' I've come to know him a little bit over Twitter, of all places, and I was always a huge fan of his. It's very cool to know he even knows I exist.

I'm a film maker who started on the Atari and then went onto the Commodore 64 and the Amiga. So I possibly have a different sensibility to people who didn't play games growing up.

It seems like the reason that I miss the science fiction from the late '70s and '80s is that at that period, they really were doing interesting, introspective human stories that just happened to take place in science fiction settings.

My job is really to... everyone is reading the script, and my job is to make sure we all interpret it in as much the same way as possible. And then I give them the freedom to sort of - to get their performance across and then make suggestions where things are not working and accentuate and push things where they really are working.

I love the 'what if' nature of sci-fi.

I think one of the biggest jobs of being a director is getting the casting right.

I personally prefer projecting digitally. I guess I'm of that generation where I like that clarity.

I've been very strategic in how I've approached the jobs I want to do.

Jeron Lanier and 'Lawnmower Man.' That was VR. And there was the VFX1, that big giant VR prototype unit, and I was like, 'I am going to save my money and get one of those.' And then VR just sort of drifted away.

I guess, as a director, you sort of take the script, and you find ways to interpret it.

My priority is having the ability to be creative and to come up with the right decisions and not be fettered. If there are a lot of people involved in decision making, it can become frustrating.

I love incredibly imaginative, speculative sci-fi.

I'm kind of transatlantic Eurotrash.

I've lived all over Europe, spent a lot of time in London, went to school in Scotland, college in America, so I do think I have sort of a sensibility on a fairly global level.

I guess sci-fi was like my candy growing up. My dad always thought it was important for me to read an hour or two every night. And if I got stuck or didn't want to read, sci-fi was sort of the thing you'd give me to spur me on to read that evening.

I do have a somewhat unique upbringing.

I was a big fan of Luc Besson and obviously Ridley Scott.

My family is very international.

The beauty of science fiction is that it takes the audience's guard down; they're much more willing to open themselves up and allow themselves to be questioned and have their values questioned when they don't think we're talking about their world or them and what they're used to.

My sense of humor often gets me in trouble.

I have a sense of humor, and sometimes it gets me into trouble.

I view myself still as a director. That's what I do.

I love J. G. Ballard. I love authors who take the world as we know it and just tweak one thing and say, 'What if the world were like this?'

I'm a cruel man to myself.

The films that I loved growing up were the science fiction films from the late seventies and early eighties [films], which were more about the people and how they are affected by the environments that they are in. Whether they are sort of futuristic or alien of whatever they are; that was the science fiction that I loved. So that is what we tried to make, the sort of film that felt like those old films.

When we first made this whole idea this was going to be calling card film [Moon] and it was going to give the opportunity to make my first feature film. But it turned out a lot better, we just couldn't stop ourselves from going into it, and we are very proud that it turned into something that people wanted to see.

I want to have the illegitimate child of independent film making and the budget to make it. That's my aspiration.

I think that idea of being far away from the people that you love is something that everyone can relate to.

Sometimes there's a disjoint between what works on the page and what works with visual story telling.

The beauty of science fiction is its open canvas. You can hypothesize about any element of the world. It doesn't have to be laser battles and things exploding, you can be JG Ballad and maybe just change one little thing about the real world and that becomes science fiction.

Sam Rockwell has a fantastic sense of rhythm.

I really don't see CG as a goal in its own right. I really do believe it's a tool. In the advertising industry I did a fair amount of CG, so I appreciate it for the tool that it is, and I think technologically where it's at now, you really can achieve most of your visual goals with either it or a mixture of it and practical effects.

When I was a kid and I was being introduced to science fiction by watching movies with my Dad, Kubrick is one of those guys that we used to watch, you know, I watched Clockwork Orange at an age that was incredibly inappropriate, but he sat there with me and he explained what was going on and you know, I came to appreciate it even if I was terrified at the time.

I'm not Akira Kurosawa. He used to write...He used to write a completely new spec script over a couple of nights. I'm not like that. It takes me a long time to put a film together that I want to make.

Hopefully, if I have done my job right, people will want to know and see more! There is certainly plenty more to tell. I would love to be part of that process of expanding on the lore that makes up Warcraft, but it will all depend on what you, the audience, think of our first film!

As soon as I finished film school I was thinking about, how do I get to feature films? It took about eight years, and I'm still working. Feature films was not the end goal. Feature films was one of the stages. Getting to the point of the Coen brothers or Tarantino, where you're writing your own material and have the budget to do it properly, that's the end goal, and I'm close to that.

Life and career kind of catches up with you.

For me, two of my favourite science fiction films are Blade Runner, which is fantastic, and Terry Gilliam's Twelve Monkeys. Both of those were smart science fiction films hitting more of a medium budget, and I desperately hope there is an audience for that kind of film because I would love that to be my next film, on that kind of scale.

In my opinion, having worked in the games industry and still keeping in touch with a lot of those guys, there was definitely a time when they saw themselves as the little brother of the film industry. But they kind of went off in a different direction and now see themselves, I think, as being far more interesting and ahead of the film industry. They haven't just caught up. They've gone off in a different direction and exceeded the film industry.

One of the biggest changes for me on a practical level of shooting the film was having a second unit.

Every film I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.

I played lots of games and I was a fan of gaming, so I was always looking for new games.

I think we tried to make a film [Moon] that was about human beings as opposed to going from one special effects set piece to the next one, which is what a lot of science fiction films these days do.

I want to do my Blade Runner, which is like a future Berlin film, which is like a thriller, but it's much deeper characters, I think.