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One of the biggest changes for me on a practical level of shooting the film was having a second unit.

Duncan Jones

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Duncan Jones
Age: 53
Born: 1971
Born: May 30
Film Director
Screenwriter
Duncan Zowie Haywood Jones
Shooting
Biggest
Changes
Level
Second
Unit
Levels
Units
Film
Practicals
Practical

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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 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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I do enjoy the puzzle-solving aspect of making a movie.
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Hopefully, if I have done my job right, people will want to know and see more! There is certainly plenty more to tell. I would love to be part of that process of expanding on the lore that makes up Warcraft, but it will all depend on what you, the audience, think of our first film!
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I think we tried to make a film [Moon] that was about human beings as opposed to going from one special effects set piece to the next one, which is what a lot of science fiction films these days do.
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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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Sam Rockwell has a fantastic sense of rhythm.
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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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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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There is this whole level of communication that I think our generation and younger is used to that does have this weird effect on people. It creates a familiarity that is possibly not always justified. I think that's interesting and I think it's nice to be able to incorporate it into films, because most of us can relate to that now.
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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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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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You do look at a lot of movies and many characters seem to be interchangeable.
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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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I'm a cruel man to myself.
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I'm not Akira Kurosawa. He used to write...He used to write a completely new spec script over a couple of nights. I'm not like that. It takes me a long time to put a film together that I want to make.
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Every film I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.
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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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When we first made this whole idea this was going to be calling card film [Moon] and it was going to give the opportunity to make my first feature film. But it turned out a lot better, we just couldn't stop ourselves from going into it, and we are very proud that it turned into something that people wanted to see.
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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