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.
And anyway, it's only movies. to stop me I think they'll ahve to shoot me in the head.
Same thing with film, by the time you've finished shooting and you've really been into everything, you've touched up everything in the editing room. You've gone in there and taken little bits from everything.
A hit for me is if I enjoy the movie, if I personally enjoy the movie.
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.
I think I was really bored at school. I was quietly clock watching for years. I went to 10 schools because my dad was in the Army and we moved around a lot.
Some actors - you work with them once and don't even think about working with them again.
If we had written Tristan in the true vernacular the audience would have been very small. It wouldn't have even been Shakespearean. It would have been so Celtic you wouldn't understand what was going on.
You've got to be able to know someone really well to be able to have a row and then also walk away from it and not have it matter, especially in this business. That doesn't mean to say we have many rows but I think the nearest thing to a row would be just flatly disagreeing with something .
I was a very earnest, hard working boy at school, but my parents were distressed because I was always bottom of the class. But I wasn't dilatory, I worked like crazy.
I get so used to working with writers that my prime occupation is development.
If I have to, I'll go and direct theater and talk till the cows come home.
I do a pretty good job at casting actually.
Yeah, we're working on Blade Runner 2 right now - that will happen sooner or later.
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.
When you're doing a big movie, you're gone for 10 months to a year.
Yes, obviously, there's this degree of wanting people to accept other people faiths and philosophies.
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.
The time it would take me to write a screenplay it would take me the time to make two films. I would rather make the movies and I'm a better moviemaker than I a would be writer.
I spend a lot of my time just developing material; or the company does. That material can come from a book, can come from a newspaper, can come from a discussion and sometimes it can come from a script that got passed over and is floating around.
Harrison is very much part of this one, but really it’s about finding him; he comes in in the third act.
I like my wine and vodka, but that doesn't mean I fall about drunk. I know my limits.
MPC, Moving Picture Company, they're really excellent, they did the majority of the effects.
Good FBI officers are not noticeable. You would never look at them.
I'm just trying to think what other sequels there were. There was the James Bond movies and not many. I think sequels have become a recent idea of franchising.
