Rian Johnson Quotes - Page 2

Game of Thrones' is just incredible, what they pull off every week.

Well, you know, we all grew up as 'Star Wars' fans.

With 'Brick,' I wrote the script when I was 23 and didn't make the movie until I was 30.

The fanboy community can smell in an instant, like smelling fear, when something was tailor-made in order to reach them as a demographic.

Back before 'Brick,' I wrote a short film that I never ended up shooting: hit men in the present who work for a mob in the future who send their victims back in time. A guy is sent his future self, he lets him run, and the whole short was them chasing each other across the city. That sat in a drawer for 10 years until after I made 'Brothers Bloom.

Even if I had $200 million, I’m very wary of overusing CGI. I think it’s a great tool and it can be used really effectively, but I feel like it does tend to be overused and especially in sci-fi stuff.

I bristle a little when the argument for film gets put into the nostalgia ghetto. Film is still the highest quality and best-looking image capture medium available. I don't think it always will be. The digital image will get better, and it will eventually surpass the quality of the film image, but it isn't there yet.

I think what I love about science fiction and what sci-fi can be really good at is obviously you're working with outlandish concepts that have very little to do with the real world, like time travel for instance.

Then I saw it. I saw a mom who would die for her son. A man who would kill for his wife. A boy, angry and alone. Laid out in front of him, the bad path. I saw it. And the path was a circle. Round and round. So I changed it.

Unlike some of the time-travel movies I love, like 'Primer' or '12 Monkeys,' 'Looper' is not about time travel. It's about this situation that time travel creates and the people dealing with that situation. So narratively, the big challenge was to have time travel get out of the way.

Teen movies often have an unspoken underlying premise in which high school is seen as less serious than the adult world. But when your head is encased in that microcosm it's the most serious time of your life.

The only advice I can really give to the young filmmakers is to be persistent, don't give up, and keep watching and making as many movies as you possibly can.

The momentum of production keeps you from giving up, so it's really the editing and writing phases where things can look bleakest.

I really spend as long as I can sketching everything out and working on the structure before I sit down to type out scenes.

Rather than thinking in terms of a specific genre or specific kind of thing, I hope I can just stay relatively small and keep making my movies. If I can keep writing them and making them, I'll be happy.

When I see a news story on a site, about a movie that I'm interested in, it's like the mouse going for the pleasure button and I click it. But then, when I see the movie, it's like, "Oh, I would have enjoyed the movie that much more, if I hadn't known that."

That's part of the appeal of time-travel movies: The notion of going back and fixing something.

All of us have that feeling of some deficiency from our childhood. I think that's a universal thing.

My filmmaking background has really just been making movies with my friends since I was 12 years old. That's how I feel I learned how to tell a story visually, by just going out with a video camera and making movies with my friends and family.

I'm definitely a big believer in the notion that a heightened style can get you closer to an authentic human experience than so-called realism on film. There are films I love that have kind of a muted or realistic style, but for me on any given day I have more moments during the course of a day that feel like a Fellini movie than I do a Cassavettes movie.

It's best if I stay out of future plans and let time go on.