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I do enjoy the puzzle-solving aspect of making a movie.

Duncan Jones

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Duncan Jones
Age: 53
Born: 1971
Born: May 30
Film Director
Screenwriter
Duncan Zowie Haywood Jones
Puzzle
Solving
Puzzles
Aspect
Movie
Enjoy
Making

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Life and career kind of catches up with you.
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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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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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Here in the UK the audience immediately reacts and they get the fact that: What would be the most annoying thing in the world? A Chesney Hawkes alarm clock!
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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
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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.
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You go through different stages when you're working on the music in film. At least, I do. You have a temp score, so you have music from other people, usually from other movies, to give you a sense of what the mood is supposed to be, what the atmosphere is.
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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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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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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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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 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 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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Sam Rockwell has a fantastic sense of rhythm.
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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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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 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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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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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.
Duncan Jones