A Quote by William Monahan
I'm a guy whose first motion picture experience was seeing Ridley Scott glide past on a camera on a hundred and fifty million dollar film, and prep two movies, and there is no way to overstate that when you've worked with Ridley, it's like having been a quarterdeck lieutenant to Lord Nelson.
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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.
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've done movies with a sword before. But I haven't really been given the full responsibility of something like a Ridley Scott film.
As a young actor, I found myself in all these movies at once, with two big trilogies and a Cameron Crowe film and working with Ridley Scott a couple of times.
Ridley Scott - not that he shared it a lot, but you can just see that everything he did, Ridley always seemed to be just so clear. I love that about him.
Working with Ridley is working with one of the great filmmakers and one of the great raconteurs. You know, it's like, a dinner with Ridley Scott or a dinner with Martin Scorsese? You just want to cut your arm off to get those.
For filmmakers who've made multiple movies, they have experience, but they only have experience of themselves as a filmmaker. Whereas I'm bouncing around from different skill sets: the organizational ability of Ridley Scott to the precision of a Ron Howard to the artistic sensibilities of a Peter Weir... to the scope of a Tom Hooper.
I'm inspired by film-makers such as Ridley Scott, David Fincher, Orson Welles.
I came out of film school and went after movies that I thought audiences wanted to see or that the studios wanted, as opposed to the movies that I wanted. Over the last 10 years, I've gravitated more and more toward the films that I grew up loving - classic Spielberg, Lucas, James Cameron and Ridley Scott movies.
The visual team of 'Blade Runner' - one of the last big fantasy movies to be made without much computer graphics finery - worked directly for Scott, who sketched each of his prolific ideas on paper (they were called 'Ridley-grams').
In fact, someone was telling me that Gladiator was the one film where Ridley Scott didn't take a producer's credit. And it won. But this guy changed the industry twice; with Aliens which was a whole new way of looking at things and Blade Runner that was also a whole new way of looking at things.
I was speaking to Ridley Scott the other day and he makes a film every 18 months. He's amazing really.
And you couldn’t control who you loved, even if you wanted to. That had been Genevieve’s problem with Ethan Carter Wate. It had been Uncle Macon’s problem with Lila, Link’s with Ridley. Probably even Ridley’s with Link. Love was how all these knots started to unravel in the first place.
I grew up loving Ridley Scott and Tony Scott and Michael Bay and Adrian Lyne.
I'm older and wiser. So and now having segued into filmmaking I'm looking at [Ridley Scott ] and what he does in an entirely different way and I have respect for what he does and how he composes shots. So that was what was completely fascinating.
As an actor, you try and be cool, but one of the reasons you become an actor is because you're a film fan. And then you're like, 'Oh my God, Ridley Scott just spoke to me!'
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