A Quote by Duncan Jones

I've been working my way to doing my first feature film for about ten years. So I went through the commercials route and some people come from a theatrical background and some people come from a writing background, but I directed commercials
I come from a theatrical background, where, if you're working on a movie or a play, you always respect the people you work with. You're accommodating.
I have actually directed over thirty plays and about one hundred commercials for cable TV, but have not yet had the opportunity to direct a feature film.
Commercials certainly pay more than films. I was pleasantly surprised at the profitability of commercials when I did my first ad for a popular soap brand years ago. I was paid a huge amount of money for a mere 30 seconds of screen presence. After that, ads have been a regular feature in my career.
I've often thought that my background in rock 'n' roll has gone to waste in film work. My background was that I was a rock 'n' roll drummer and I don't think I used drums in my first ten years of film scoring.
Obviously, I come from one background, and the people that design fitness equipment have been doing it for years and years, and they know what works and doesn't work.
If you come from a working-class background, you can't afford to write full time, because you're just not being paid. Basically, all my arguments come down to Marxist doctrine: The world is shaped by money, so the only voices you'll hear are the ones with money behind them. But thankfully, culture and cool are some things that circumvent money, because if you're cool, people will want to give you money - suddenly you shape the market and people start coming to you. Which is why culture has always been a traditional way out for working-class people.
I don't come from a flashy film background. TV's been a great home for me, and being able to do that work kind of unnoticed, and not putting that out in the foreground was perfectly fine for me. I just continue to want to make sure that that's what it's about. I think when you start spinning out on what other people are doing and trying to chase something, you're really on a one-way ticket to things not working out the way you want them to.
It was very hard breaking into the film industry in Britain. I had been to art school, and I was painting and doing commercials. And I did some of the very first rock videos.
Just watching people who come from a stand-up background is different from watching people who come from an improv or sketch background.
I'm not from a theatrical background where people do like to work it out on some stage space.
The first part of my career, how I was paying the bills was commercials. I was just doing tons of commercials.
I actually like doing commercials. I don't like doing them to the exclusion of everything else, but I like doing them. The 30-second format is very hard. I sometimes call it American Haiku. And I think some of the commercials I've done are not so bad.
I've come a long way from my first commercials.
I was making commercials. That's how I learned the craft. That was the marketing part of it: directing commercial for TV. It wasn't the most common thing to become a filmmaker in Greece. I started by saying I was interested in marketing and have a proper job in advertising and commercials. Basically, I studied film to learn how to do marketing, and commercials. As I studied film I learned I'd be interested in making films instead of commercials.
I come from a very working class background. My dad worked in a factory for 40 years. We all put ourselves through school.
I think you can find some rationales for that if we look at the background out of which he came. Martin [Luther King] had come out of a highly competitive, black, middle-class background.
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