Blade Runner is a rare science fiction movie so full of material that pages can be written about it without scratching the surface. A review like this can provide little more than an overview. A detailed exploration of the movie, its style, and its mysteries requires dedication that only someone immersed in Blade Runner lore can provide.
I'm a believer in screening movies early, and using the movie itself to help sell the movie. If you can't do that, I feel like you shouldn't be releasing the movie.
I think animation is like running a marathon, and making a movie is like a 100 meter sprint. The question is: are you a marathon man or are you a sprinter? I realized that I was more of a sprinter than a marathon man. With a long, long project, I get bored easily.
When sequencing an album, you kind of have to look at it like you're making a movie with different acts, and you have ebb and flow, peaks and valleys. You want it to feel like a journey or a good movie or book where you can actually feel very satisfied at the ride at the end of it.
'Rogue One' does not feel like a 'Star Wars' movie. There are no scrolling yellow letters. There is no classic John Williams score. It feels like a movie of a different type set in the 'Star Wars' universe, a movie where there is no magic to save you. It is not a movie for children.
In the case of 'Shape Of Water,' I want it to feel like a song. I wanted people to come out of the movie humming the movie.
I don't want to show deleted scenes. I don't like an audience looking at what the movie might have been - if it's in the movie, it's in the movie.
I'm a runner from sports. I've been a runner, but I wasn't a cross-country runner or anything like that. I played a lot of soccer growing up.
The 2-D movie works as well as the 3-D movie. I want to make sure that people like the 2-D version. It's not a gimmick. It actually improves the viewing experience, but the movie stands on its own.
You can do a good movie, or you can do a good movie that can help people to feel the idea of what it is like to live. It can be good in an artificial way; it can be also a good movie for your own existence. You don't know that when you do a movie. You don't know if you succeeded, which is the most difficult thing.
I think our movie, 'Now You See Me,' is an emotional movie rooted in smart and wits and fully amazing actors working perfectly together. It's like a supergroup of musicians.
Sometimes I feel like every movie I make could be the last. I know that's not really the case, but if I think about it that way and I'm very careful, then maybe I can build a career, movie by movie, that I'm happy with.
You really can't say enough about 'Blade Runner.' For that movie to have such a long life - you can't describe what a beautiful feeling that is. Initially, the movie was out of theaters in something like two weeks. But the people that wanted it back - the fans - they really saved it.
It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.
When I watch the movie, which is I don't know how many times I've done now with editing and everything, I walk out giddy just because I feel like that's the movie that I want to see.
If a movie is received badly, and I'm in only one scene of it, I still feel responsible. I feel like it was my fault at all times. If people were like, 'This movie sucks!' I'd be like, 'Well, that's because I'm terrible.'