A Quote by Orlando Bloom

Movies like that aren't about the visual effects and explosions. They're human stories about family, about life, about death. — © Orlando Bloom
Movies like that aren't about the visual effects and explosions. They're human stories about family, about life, about death.
Nature is full of drama. I know nothing about biology, about birds, about insects, about the details of politics. I just make movies about human interest stories.
It's all about special effects and explosions now. It leaves me just cold when I walk out of the theater. There's no heart; there's no soul. Movies used to be about people. It's as though we don't tell stories any more. The studios have to make money, and if you want to make $20 million, you have to spend $200 million.
Crime fiction is a genre for writing stories about people - about conflict, about guilt, about passion, about the human condition.
When we think about a great movie, I mean, what do we think about? We think about story, we think about character. And when the visual effects aren't perfect, we forgive it.
The two most important things is, one, the music in my life, and the family. It's somehow connected because music is about human beings, about love, about hate, about everything that happens in life.
Tattoo is the magic word. It hits people in a way that no other visual medium does. And it is not simply visual, but visceral. Everybody has an opinion about it and everybody has a gut reaction. And because they are permanent, tattoos raise all these issues about life and death.
What I love about Neill's Blomkamp work is that his stories are small human stories. But what's interesting about Neill's movies is that they're set in the future but they're so incredibly timely that it feels like maybe in the present in the next dimension. It feels like it's happening now. The universe is very recognizable, in many ways.
Hardly anyone today thinks about sex. We joke about it, dream about it, watch movies about it, listen to music about it, lust about it. But we don't ever really think about it.
'Chernobyl' is a human story. It's not a disaster movie. It's not about explosions. It's about people and truths and lies.
Here's the weird thing about me. I was never one to tell you stories about me. I was always the guy who others told stories about. I was like that up until I was 35 years old. And then I started telling stories about me onstage.
When you're looking for stories or movies usually the great stories are about people in their 30s or 40s because they've lived more life and they're usually accomplishing more incredible things. But when there's an interesting story about someone that's your age, you immediately - especially when you're younger - are like, "Wow that's crazy! There's not very many of these."
I was thinking about it: so many of my stories are about my family life, not about being related to a lot of famous people. That's my grandma, that's my mama, my daddy, my aunt, my uncle, my stepdaddy. I'd probably tell them even if they weren't well known.
I like human stories. I like stories about situations we can relate to. I like movies like 'Ordinary People' or 'Terms of Endearment.' Mothers and daughters, fathers and sons, boyfriends, girlfriends. The stories to me that are worth telling are almost simple ones, but very relatable.
My father's book is about is about a number of things, but about Houdini's rage to not be a failure like his father, and it's also about converting X-rated material, namely bondage, into family friendly safe fare, which is what he did. It's also about death and resurrection, and rising to live again another day when everyone thinks you're dead.
My short stories are so character-based and they're also so private. They're like a private world in each story and I'm getting more and more interested in allowing myself to investigate the big picture about this country, and about human beings, and about the planet, and about the solar system, and about the nature of the material world in general. And I felt like I needed to move into a bigger form.
My perspective on life is now to try to play music that reflects that life and death are part of the same coin. And to know about life, we must really examine the function - like death. Life tells you a lot about what death is, not what people say it is.
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