Neill Blomkamp Quotes
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There's a lot of evidence in evolutionary sciences that show that altruism and acting in ways that are empathetic to others are actually beneficial on an evolutionary basis.
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My point of view actually on artificial intelligence, which ties into the nature for humans constantly looking into the reasons for why we exist and why consciousness exists changed during the making of Chappie. And I'm not actually completely sure that humans are going to be capable of giving birth to A.I. in the way that films fictionalize it.
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I think a lot of the inspirations for me are very instinctual and subconscious. I don't over intellectualize stuff much. It's a very instinctual thing.
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It's just my maybe naive, optimistic view that whatever knowledge we gain, and if it comes to pass that we can somehow understand what consciousness is, if we can somehow create that, it will ultimately be used for the good.
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If the population curve is on an exponential growth, and the resources are on an exponential decline, what happens first is you get increases in wealth discrepancy, which means that you get rich pockets of gated communities with security guards outside them, and you get more and more poverty outside that area.
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I've learned more, and I understand the process a bit better now. I can try to see how long I want to take in each aspect of the filmmaking process, and then arrive at around the two-year end mark.
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If you just compare South Africans to the rest of the world, I think that white South Africans, and especially English-speaking white South Africans, are exactly the same as Brits or Australians or New Zealanders or Canadians or Americans.
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I love the idea of people being themselves in films.
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I grew up as an artist. Science fiction allows for design and creatures and guns and all the stuff that I like as well. So I think most of the films I make, I'm sure, will be in that category. But I can also see myself making a film like 'Black Hawk Down,' and I could also totally do horror.
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If you didn't get it right and then you have to release a director's cut to undo what the studio made you release, I don't know, either it's some marketing thing for them to get more money or the director didn't do his job.
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I think people are destined for something incredible if we don't wipe ourselves out, but I think we're going to wipe 90 percent of ourselves out.
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My own standards that I'll hold myself to is if the product that I'm making feels honest and it feels like I didn't compromise and it just came from an honest, correct place.
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If you don't have something that glues the audience to the screen, you're in trouble.
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If you're a theater director, you're not going to be prepared for the technical side. And if you're a technical director, you're not going to be prepared for the acting side. The only thing you can do is go through the meat grinder of your first film.
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I actually think Johannesburg represents the future. My version of what I think the world is going to become looks like Johannesburg.
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Deleted scenes are like in a middle gray zone. It's like, well, they're deleted because they're not good or you lost the battle and you couldn't put them in the movie.
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High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script.
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I am a firm believer that the pull for human beings is towards the good, generally outweighing the bad.
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News is almost more interesting to me than other people's fiction, if that makes sense. But other people's fiction in terms of design is still incredibly interesting to me.
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My favourite stuff is visual, and I always want to work with visual artwork. I think it depends on the person, but for me, photographs of an image of something interesting or inspiring is worth a lot more than words to me. I think every concept I've come up with and turned into films or that will be hopefully become a film comes from images first.
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A lot of parts of L.A. are interchangeable with suburbs in Joburg. Very big, ostentatious houses with palm trees and lawns. Lawns are very important. Never underestimate lawns.
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Obviously I don't want to make a film that offends people, but the whole world is so politically correct - I'm not going to not do something because it may be politically incorrect. At some point, the metaphors and allegories break down. They disappear, and you just have science fiction.
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A lot of America is kind of done. People have been making films about it for 100 years. Everything to me feels used up. But Jo-Burg feels unbelievably inspirational to me.
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When I was in my early 20s, I was quite into Japanese animation. It's like the same thing that I end up always saying which is, imagery based stuff is the thing that really gets me.
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There are loads of sociopolitical, racial, class and future-planet situations that really interest me, but I'm not really interested in making a film about them in a film that feels like reality because people view that in a different way. I like using science fiction to talk about subjects through the veneer of science fiction.
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When any young director gets hired by a studio to do a $125 million film based on a preexisting piece of intellectual property, they're climbing into the meat grinder. And what you're coming out with on the other side is a generic, heavily studio-controlled pile of garbage that ends up on the side of Burger King wrappers.
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If something is as smart as you, do you treat it differently if it isn't a human?
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I think the world of 'District 9' has a lot of race and oppression-based ideas that I would still like to explore in that world.
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The fact that natural selection and evolution crafted essentially carbon and water into a mechanism that can think and be conscious means there's nothing in physics that says you cannot do that to a greater degree.
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I think that people who make films and think they're changing the world are sorely mistaken. If that really is your goal, there are far better ways to do it. I'm making politically observant films for audiences.
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