Life isn't black and white. It's a million gray areas, don't you find?— Ridley Scott
The most astonishing Ridley Scott quotes that are free to learn and impress others
Blade Runner was the godfather of all these fantastic movies that occur today.
What's frustrating is that we're short of really great writing and great ideas. Blade Runner was full of them.
In my view, the only way to see a film remains the way the filmmaker intended: inside a large movie theater with great sound and pristine picture.
I think one of the successes of Gladiator is how we manage to turn on a dime the character from one thing to another where you believe he is one thing and he is something very different.
I think movies are getting dumber, actually. Where it used to be 50/50 and it's 3% good and 97% stupid.
But Gladiator is one of my favourite adventures because I really loved going into the world. I loved creating the world to the degree where you could almost smell it.
There's nothing really original. Alien was a B-movie. Five directors passed on it before me. Because I was into Heavy Metal, I read it, and thought, "Wow, I want to do this." I was on a plane to Hollywood in 22 hours. It was a B-movie and was elevated to an A-plus movie by sheer good taste.
Audiences are less intrigued, honestly, by battle.
They're more intrigued by human relations. If you're making a film about the trappings of the period, and you're forgetting that human relationships are the most engaging part of the storytelling process, then you're in trouble.
Usually, when special effects get in the way, it's because the story isn't strong enough. If you don't start with a strong screenplay, it's easy to fall back on special effects, thinking it's going to carry you. But it never works. It's just tiresome.
How can you look at the galaxy and not feel insignificant?
I love different themes, different venues, different movies.
I love to jump about and tackle different subjects. I have no intellectual master plan.
Everyone sniggered because I was going to do a sandal and toga movie.
But I knew exactly how to do it and I know how to make Robin Hood.
That's part of the policy: To keep switching gears.
It's the best of the best. No film can hope to top it(Kubrick's 2001).
Scaring someone's the hardest thing to do, and that's why most of scary movies are not scary. They're sick, but not scary. There's a lot of sickness out there, of people who then sit there and watch it, which I think is absolutely dismaying.
Good FBI officers are not noticeable. You would never look at them.
People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.
I don't ever blink, honestly.
I watched Someone to Watch Over Me the other night.
I thought it was a really good movie. It's a great movie.
And I maintain good relationships with all the studios so I've never been bullied into any cut, frankly.
I think there's nothing worse than inertia.
You can inert and study your navel and gradually you'll fall off the chair. I think the key is to keep flying.
I think if I'm going to do a science fiction, I'm going to go down a new path that I want to do.
If I have to, I'll go and direct theater and talk till the cows come home.
Blade Runner appears regularly, two or three times a year in various shapes and forms of science fiction. It set the pace for what is essentially urban science fiction, urban future and it's why I've never re-visited that area because I feel I've done it.
There's great wine from Australia, New Zealand, South Africa, Chile and, of course, California. But there's nothing like a really great French wine, they're so well balanced. The better the wine, the less you feel the effects I think.
I was always amazed about how much I could finally squeeze into a thirty second commercial.
You don't really know what you're going to get until you're actually in Abbey Road. That's where I did all the music, in The Beatles' place.
Politics is very interesting and always leads to conflict.
I also love Australian movies. I love Muriel's Wedding - I've seen in six times. Baz Luhrmann's best movie is strictly ballroom... without question.
Digital is a different world because you are sitting at home and a hi tech piece of equipment today is within reach of most people, so they are watching a pretty hi tech version of whatever you've done.
It goes back a long way. I wanted to make Tristan + Isolde as my second movie. My first movie was The Duellists. And I was standing in a very romantic part of France looking around me thinking, "My God, this would be perfect for Tristan," and to cut a long story short it never happened because I did Alien instead.
What you do, is you gradually become more and more experienced, and more and more realistic about dramatic tolerance, i.e. about how long the play should be.
I always say to people when I'm trying to get something going, bringing on other producers or other directors, "You can think of 95 reasons why not to make a movie. You've got to address why you want to make the movie and get it done. Just do it." I tend to live by that rule.
I like my wine and vodka, but that doesn't mean I fall about drunk. I know my limits.
Some people like to do everything always the same thing. That's another way: To do the same thing.
MPC, Moving Picture Company, they're really excellent, they did the majority of the effects.
Yeah, we're working on Blade Runner 2 right now - that will happen sooner or later.
When you're doing a big movie, you're gone for 10 months to a year.
I think going into space would be like going deep into the ocean, like 5,000 meters down. When you go down that far, it's just awfully black. There's not much there except mud and some particles. I imagine space would be a similar thing. The only difference is you're hoping to bump into some sort of intelligent extraterritorial being.
There is an access to... people can now afford very high quality technology, where you can have a very good reproduction of a large picture on a large screen at home. People go out less. There's all kinds of reasons. I don't know that it's going to stay that way but, I think also, we've got to start making better movies.
Cast is everything.
Do what you haven't done is the key, I think.
I went to Art College and during the summer I made a movie with my brother.
I got hold of a little camera, wrote a script and dragged my brother, Tony, out of bed to help me (which he did not like), so that we could shoot a film every day for six weeks. It was made for £65 and it was called Boy On A Bicycle.
I believe all of us only use one tenth of our brain. I know people who use one per cent only!
I do a pretty good job at casting actually.
Nowadays, everything's evolved into superheroes and it's boring.
If I see one more superhero movie I'm going to shoot myself.
That's a heavy word, but picking up a newspaper every day, how can you not despair at what's happening in the world, and how we're represented as human beings? The disappointments and corruption are dismaying at every level. And the biggest source of evil is of course religion... Everyone are tearing each other apart in the name of their personal god. And the irony is, by definition, they're probably worshipping the same god.
I get so used to working with writers that my prime occupation is development.
I want to make films about the human condition, what we're doing to the world or ourselves.
There's a little thing on your shoulder called intuition and it whispers in your ear. Everyone has that, there is a voice telling you to do something. Most people ignore it - but you must listen to it. I do it every day, all day.
Harrison is very much part of this one, but really it’s about finding him;
he comes in in the third act.