Top 82 Quotes & Sayings by Jonathan Nolan - Page 2

I don't think you can guess what people will really like. You have to come at it from a more natural place and then kind of hope that your taste is shared by enough people to keep going.

How can you forgive if you can’t remember to forget?

I've always been interested in themes of memory, paranoia, and revenge.

I thought it would be an enormous amount of fun to make a movie that heads out into space, which is something that we had never done before.

I'm a big believer in pose some questions and then answer a few of them before you move onto the next set of questions.

You'd have a quality insurance department, where they're making sure there aren't any glitches or weird things, and that the guests have a great experience and seamless experience. You'd also have security. So, we laid out the corporate structure, and then we cherry-picked from that the people who would be brought into the most conflict and the most day-to-day relationship with each other and with the hosts.

Time is an absurdity. An abstraction. The only thing that matters is this moment.

To a certain degree, with a TV show, people are looking for a certain amount of familiarity. You don't want to pull the rug out, but you also want to keep things fresh and keep changing it up.

The thing about working on a TV show is that it becomes, very quickly, all consuming.

We're gonna play a little bit of a game here [Person of Interest movie]. Greg and I felt like we had responsibility when we wrapped up the pilot, to have a roadmap for where the show went. When we pitched the pilot, we knew what we wanted the last episode to be, the last image, I think we even know what the last song is.

One of the things that's really fun to tap in with television right now is this sort of explosion, the peak TV moment that we're in, people are exploring different modes of storytelling here. But one of the exciting things here is being able to commit upfront to a big, big, big story.

I've worked in the movie business for many, many years, where you have lots of days and lots of money. It's really mainly about time. We always try to conceive all of our action from a place of, "What can we shoot that looks fantastic?," rather than trying to do the kinds of thing that you would be able to accomplish in a movie.

I was definitely looking for a reason to impose rules in the story during the writing process... a set of reasons that you could graph for why it's not chaos and anarchy - for why it has to be order, and why you need architects and an architectural brain to create the world of the dream for the subject to enter.

We used to look up at the sky and wonder at our place in the stars. Now we just look down, and worry about our place in the dirt.

I'm hoping that the suspension of the space program is just that, a suspension, and that it's not the final say in the matter, because I think we need it.

When J.J. [Abrams] called Lisa [Joy] and myself, he pitched us this idea of, what if we turn the structure around and started with the hosts. For us, that gave us a way to play with everything that we're interested in, all at once. It's the ultimate playground for us because we deal with questions about artificial intelligence, which is something I've long been fascinated by, but also human intelligence, or the lack thereof, human behavior, and interactive, immersive storytelling.

I'm a big believer in practical and location photography.

Typically with HBO shows, the ninth episode often winds up being a big one and when lots of exciting stuff happens. And then the tenth one is the more placid, character-based one.

Because he's the hero Gotham deserves, but not the one it needs right now. So we'll hunt him. Because he can take it. Because he's not our hero. He's a silent guardian, a watchful protector. A dark knight.

Books are a time machine.

You get to a certain moment where you realize all those humans who landed on the moon did so in between Chris [Nolan] being born and me being born and no one had gone back since, all these Super-8 films we grew up watching of rocket launches, you get to a certain age and you realize all the speeches about going back, they're speeches, there's no money there, we're not going back.

You know, we certainly have a great budget on the show, but the expansions to world of the show really arise because, and this is kind of the idea of the premise of the show, where is each week you're kind of meeting . . . It's random access.