Ridley Scott Quotes

Making this movie was a great opportunity for me to explore high-definition. I'm glad I got to see what the challenges are, what makes it better. It works wonderfully.

A lot of directors in my experience are very receptive. They see what you do first, and then they want to find a place to put the camera, and they tweak you here and there.

More often than not, the experience of shooting the movie has been disappointing and the end product has been a mere shadow of what I hoped it would be. But immersing myself in the story - that's what I like best of all.

Definitely as an actor, the experience you have, at least I'm talking for me, my experience as an actor is you go to the set and know what you're going to do, know your lines, you rehearse, you do your scene, you go back home. As a producer, for the first time I saw the whole picture in a completely different way.

When you're directing, you see your ideas. You see them created right in front of you on the monitor and the sound stage. You get that experience all over again when you get into the editing room and you start playing with it.

In film, I think that you do have a little more time to invest in the character compared to television, where you are shooting from the hip and making quick choices. It is the speed of things that is the major difference - certainly in my experience.

I know many filmmakers, and shooting in IMAX is challenging. Filmmakers love the vividness and power of those big images.

I'd have to say the whole experience in making The Neverending Story. I had an incredible time.

I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.

I think each movie-making process is a very exhausting and satisfying and fulfilling experience for me.

The IMAX cameras are big and heavy. And they're loud. So you have to be mindful of whether or not they're worth it; I'd say the image quality is incredible and the scale is amazing.

It took me 20 years of making movies to learn how to do it.

I love being on sets with very seasoned directors as well as very new directors. Every time is a discovery process. You learn something new every time.

It was kind of intimidating to make a feature without that much experience.

'The Bank Job' was great fun to work on. Roger Donaldson is a top director, and working on HD was a new experience. It picks up every detail, which is a blessing and a curse if you think about it.

The experience of making a movie is far removed from watching the end result. It's exciting, but it still makes me squirm.

I hope to direct at some point, but I don't feel the pressure to rush it. I want to really know what it is that I'm doing.

That's one of the best things about the RED ONE - I can use all the best lenses that have been used in film forever.

Aamir Khan in a sense, was my first teacher for filmmaking. He used to answer my doubts on the sets of 'Joh Jeeta Wahi Sikander.'

Shooting for Aamar Pratigya' was a completely delightful experience for the 25 days I shot for the film.

I learned a lot from Direk Brillante Mendoza and Bing Lao.

It was really fun to work on 'The Predator.'

I prefer reading e-books on a high resolution LCD screen - like the iPod Touch's - although the pixel density could and should be much higher.

I usually befriend the camera department very early on in the film and drive them nuts. I'm constantly bombarding them with questions and going through the stills photography. A film set is a great place for me and I love it.

When I started, we had just the camera and the person, mostly. And if you wanted to do a dolly shot, particularly working in Chicago where I began, you'd get in the back trunk of a car, and you'd have a friend drive the car, or you'd get in some kid's little wagon that he plays with and have someone pull that for dolly shots.