A Quote by David Twohy
In all my science fiction movies, I try to blend the familiar with the futuristic so as not to be too off putting to the audience. There is always something familiar they can grab onto.
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In all my science fiction movies, I try to blend the familiar with the futuristic so as not to be too off-putting to the audience. There is always something familiar they can grab onto.
I like to compare the holiday season with the way a child listens to a favorite story. The pleasure is in the familiar way the story begins, the anticipation of familiar turns it takes, the familiar moments of suspense, and the familiar climax and ending.
Quite generally, the familiar, just because it is familiar, is not cognitively understood. The commonest way in which we deceive either ourselves or others about understanding is by assuming something as familiar, and accepting it on that account; with all its pros and cons, such knowing never gets anywhere, and it knows not why.... The analysis of an idea, as it used to be carried out, was, in fact, nothing else than ridding it of the form in which it had become familiar.
I'm not a futurist, and my taste in science fiction was sort of in the gothic horror vein, not space movies and futuristic stuff.
I make work that tries to sort of connect with something really, really familiar. I don't try to make work that's original. I try to make work that's quintessential. That's what I mean about the familiar. It operates with stuff that people already know or information that they already have and I try to just use that. Quintessential means like the perfect minimalist sculptor.
I'm drawn to scenes in movies where you just see characters turning off lights in a room or putting the groceries away; it's like, 'I understand that.' We all have to get ready for bed, and we all do it in a different way, and yet it's all strangely familiar and strangely human.
Any time you're comfortable or familiar with something, it's easier than something you're not familiar with.
The strange thing about hotel rooms is that they look familiar and seem familiar and have many of the accoutrements that seem domestic and familiar, but they are really weird, alien and anonymous places.
I was always interested in finding ways of meeting the familiar very differently, specifically the feminine familiar.
When The Fall pummeled their way into my nervous system, circa 1983, it was as if a world that was familiar - and which I had thought too familiar, too quotidian to feature in rock - had returned, expressionistically transfigured, permanently altered.
I had decided after 'Hollow Man' to stay away from science fiction. I felt I had done so much science fiction. Four of the six movies I made in Hollywood are science-fiction oriented, and even 'Basic Instinct' is kind of science fiction.
In period pieces or genre pieces, those have to be set in historical truths. But, science fiction has different game pieces. And with those game pieces come other stories we're not familiar with. So, science fiction teaches us how to relate to outsiders, to foreigners, and to not approach any of that with fear, but a genuine curiosity.
Too many films today feel formulaic and familiar. I prefer it when the familiar is made to feel strange.
When you're coming into training camp, there's not a whole lot that is familiar. When you can grab something from it, it keeps you calm and helps you just play football.
Too often we tend to reduce what is strange to what is familiar. I intend to restore the familiar to the strange.
When people are too present, too familiar or too in our face, something happens to us psychologically. We begin to tune them out, we begin to get sick of them, we begin to know them so well and become so familiar with who they are that we loose a bit of respect for them. You pass a certain threshold with the fact that you're too present in their lives, too much in their face and once that threshold is passed you're never going to repair it they have lost a certain respect for you.
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