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We can't tell particularly smart stories if we want to keep our audience big enough to pay for these big spectacle films that we want to do.

Duncan Jones

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Duncan Jones
Age: 53
Born: 1971
Born: May 30
Film Director
Screenwriter
Duncan Zowie Haywood Jones
Film
Particularly
Stories
Films
Enough
Smart
Pay
Audience
Bigs
Tell
Keep
Spectacle

More quotes by Duncan Jones

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Bill Pearson is definitely a man to talk to, especially in the afternoon when he's had a couple of drinks because he's got so many stories and anecdotes.
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Fantasy films tend to skew towards what Tolkien fantasy was, which is that the humans, the Hobbits and the cute creatures are the good guys, and everything that's ugly are the bad guys.
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I think that idea of being far away from the people that you love is something that everyone can relate to.
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Sam Rockwell has a fantastic sense of rhythm.
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There are things which need to be shown in the trailer in order to let the audience know what kind of film it is that they're going to be expecting to see.
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I want to have the illegitimate child of independent film making and the budget to make it. That's my aspiration.
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I've worked really hard to build up a career on my own. I turned 30 recently and it took me a long time to get the chance to make a feature film and do it on my own terms.
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And as a first time director I needed to work with someone that I felt comfortable with, and that I could get along with. It was a perfect match [with Sam Rockwell] I am so thrilled I got to work with him. He is a really nice and incredible guy.
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One of the biggest changes for me on a practical level of shooting the film was having a second unit.
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I really don't see CG as a goal in its own right. I really do believe it's a tool. In the advertising industry I did a fair amount of CG, so I appreciate it for the tool that it is, and I think technologically where it's at now, you really can achieve most of your visual goals with either it or a mixture of it and practical effects.
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Every time you want to reset your set and pull walls out and reset the lighting, you're burning up half an hour to an hour, and when you're trying to keep to a schedule, you're constantly having to reassess what's worth it and what you're going to have to give up in order to keep on schedule.
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I was doing the promotion for Moon in LA at the same time that Tony Scott was there with [The Taking of] Pelham 123. But obviously he was so concentrating on his own film that he didn't even know I was doing a feature film.
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I think I was brought up with games and I don't think that they're just Pac-Man or Space Invaders. I think we've moved on, I think that there are stories being told and worlds being explored.
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I was massively jealous but also excited when Tarantino did Inglourious Basterds, I'm a huge guys on a mission fan. Those kind of movies.
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You are spending millions and millions of dollars of other peoples money when you make a movie. You have to at least approach it in a way where you can see how you can make that money back for the people who are investing.
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I want to do my Blade Runner, which is like a future Berlin film, which is like a thriller, but it's much deeper characters, I think.
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I do enjoy the puzzle-solving aspect of making a movie.
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I played lots of games and I was a fan of gaming, so I was always looking for new games.
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For me, two of my favourite science fiction films are Blade Runner, which is fantastic, and Terry Gilliam's Twelve Monkeys. Both of those were smart science fiction films hitting more of a medium budget, and I desperately hope there is an audience for that kind of film because I would love that to be my next film, on that kind of scale.
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I've been working my way to doing my first feature film for about ten years. So I went through the commercials route and some people come from a theatrical background and some people come from a writing background, but I directed commercials
Duncan Jones