A Quote by Russell Crowe
My bottom line is that I think Ridley Scott is one of the greatest visual artists of our time and I feel very privileged that he wants to work with me, so I go with that flow.
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Ridley creates a very immersive world, so when you walk up to a Ridley Scott film set you're in Ridley Scott's imagination, and it's a really comfortable, cool place to be.
Getting the call from Ridley Scott made me think that sometimes you just need to go to work.
Ridley Scott obviously an iconic director, he's made some fantastic films. Obviously a very smart, very tasteful, thoughtful guy. So yeah, I'm in good shape; got Ridley Scott with The Cartel.
I learned from Ridley [Scott] how to come out of the trailer at a fast walk and make your decisions and keep it going. We were very much on time and under budget, as they say. That was a very important thing for me and very satisfactory.
The thing with Ridley [Scott] is he's been doing this forever, he knows what it is he wants and how to get it. There's absolutely no messing around on set. Having said that, he's very accessible to actors, very open to what you want to do and willing to talk about it.
All of a sudden I pulled up short and harked back to Ridley [Scott] holding up the script in Manhattan, at the St. Regis breakfast room, and saying, "It's very visual, isn't it," and realized it was the key to my whole life since then.
There's a method aspect to Campbell Scott character and he really wants to get into his character and he wants to cast to go on a fast so that by the time the play opens nobody's eaten in three days because he wants the audience to feel the pain from the stage.
I'm quite curious and excited about seeing a new script for 'Blade Runner.' If, in fact, the opportunity would exist to do another, if it's a good script, I would be very anxious to work with Ridley Scott again; he's a very talented and passionate filmmaker. And I think it would be very interesting to revisit the character.
The film that really struck me was Ridley Scott's Blade Runner. That was a film I watched many, many times and found endlessly fascinating in it's density. I think the density of that film is primarily visual density, atmospheric, sound density, moreso than narrative density.
I was so excited to work with Ridley Scott. Who wouldn't be?
My gratitude to Ridley [Scott] isn't anything new. I named one of my kids after him. But he's a very important person to me.
An eye-opening moment in my life, a very defining moment, was the first time I met Susan Sarandon [before shooting Thelma & Louise]. We were going to meet, just Ridley [Scott] and Susan and I, to go through the script and see if we had any thoughts or ideas. I was reading the script, and in the most girly way possible, meaning that if it was a line that could change or something different I'd like to see, I would think about each one and say, "Well, this one can wait till the set because I don't want to bring up too many things."
I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.
When I think of the trials and tribulations that black men go through in America and that black artists went through, I feel very privileged.
We need an honest bottom line. Today that bottom line is vastly subsidized. If anyone of us were paying the full cost of oil our bottom lines would be very different. If you internalize the cost of oil, look at the cost of the war in the Middle East or the cost of global warming for future generations, if you internalize those external costs and what you pay, that bottom line would look very different, what ever business you are in.
I grew up loving Ridley Scott and Tony Scott and Michael Bay and Adrian Lyne.
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