A Quote by Sydney Pollack
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.
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I grew up loving Ridley Scott and Tony Scott and Michael Bay and Adrian Lyne.
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.
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.
I admire Ridley Scott, and I'm thrilled to be making a movie for him.
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.
Adrian Lyne is such an incredible director.
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.
I think of myself as a stylist, and stylists can become notoriously obsessed with the placing of a comma, the weight of a semicolon.
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.
I didn't realise that Ridley Scott has never won an Academy Award.
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.
There is an enormous thrust in our time to have a simple answer. And that simple answer is that all depends on Alan Greenspan and the Federal Reserve. And Alan, who is an old acquaintance of mine, is a marvelous performer in the impression he gives of enormously great perception.
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').
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.
Ridley Scott is a cinematic master and a great man. It was a real honour working with him on 'Prometheus.'
Adrian Maben came to us with the idea. And we just thought, "Well, why not?" I don't think any of us thought it would be as well received and last in people's minds for as long as it did. All credit to him. It's his idea [Pink Floyd at Pompeii] and it was great.
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