A Quote by Tobias Forge
As a young teen, Satan and the idea of some sort of world that you could be in touch with that could empower you was very much the symbol for freedom.
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'Muppets' was very much an exercise in anti-CG and the anti-effects world. It was very much in camera. We wanted to create a world where tangible puppets walked around and talked to each other. You could touch them. You could meet them.
The world could be anything, you know, It could be a solid state matrix of some sort. It could be an illusion. It could be a dream. I mean it really could be a dream.
I think I just liked the idea that I could make something, that I could communicate some sort of idea through music.
Music was never an obligation for me; from a very young age, I understood it as a moment of freedom where you could express yourself. I realized how much joy it could bring and how much that meant to me.
When you're young, you're very insecure. And if I could learn, if I could revisit my own past I could say to myself, don't think too much, just get on and do it.
In our interconnected world, novel technology could empower just one fanatic, or some weirdo with a mindset of those who now design computer viruses, to trigger some kind of disaster. Indeed, catastrophe could arise simply from technical misadventure - error rather than terror.
I was very impressed by Walt Disney and the idea that you could have a dream and you could realize it to the point where people could walk around within it... It still resonates with me. I wanted to be somebody who believed in their ideas that much.
From a very young age, I suspected there was more to my world than I could see: somewhere in the streets of Istanbul, in a house resembling ours, there lived another Orhan so much like me he could pass for my twin, even my double.
If we could find a way to totally empower half of the brains in America, imagine how much more productive we could be.
The movie that we could've finished in 2001 would've sucked. The movie that we could've finished in 2002 would've just been a disaster, even into 2003, it would've been very cobbled together, amateuristic stuff. But as we went along, we really did stumble upon some accidental themes, and with the things you could do with computers, and all that sort of stuff just sort of really accelerated into where the stuff that we could do right here at my house became - you could almost do anything.
Samurai culture did exist really, for hundreds of years and the notion of people trying to create some sort of a moral code, the idea that there existed certain behaviors that could be celebrated and that could be operative in a life.
The graphic novel? I love comics and so, yes. I don't think we talked about that. We weren't influenced necessarily by graphic novels but we certainly, once the screenplay was done, we talked about the idea that you could continue, you could tell back story, you could do things in sort of a graphic novel world just because we kind of like that world.
I'm very much disciplined because I'm more mature. When I was young I just wanted to live, I could jump, I could run, I was quick and I was relentless.
I think it's probably a bad idea for young boys to see how they're being depicted in men's fantasies. It could get very dark. You could learn how to do things wrong.
I want very much to see some sort of compromise reached in the area of immigration... so that we could move on to other issues.
I've never done a teen movie before, but I certainly could tell you some of the ones I came very close on. I was very close on Clueless and She's All That.
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