Quotes of All Topics . Occasions . Authors
There's very few dork movies made by dorks.
I love comic books - maybe to a fault sometimes.
When Reality is a prison, Your mind can set you free.
I think I just have a natural operatic aesthetic. I can't help it.
I do like Superman as a character, and I have followed him throughout the years.
I write in a pretty straightforward way. I kind of sit down at page one and start writing.
My aesthetic is probably closer to a 15-year-old's than my dad's, but I get his conviction.
When I make a live-action movie, it's a very physical process. It's like running a marathon.
My mom always encouraged me, it was never weird. She'd look at 'Heavy Metal' and go 'Woo-hoo!'
You know, it's a hugely difficult thing to take any work of art or drawing and say 'make that real.'
Of course it would depend on the project, but I don't think I could ever separate myself from my aesthetic.
You can't have a Superman that is battling cultural morality. You need a Superman that has built in sort of values.
I'm interested in animation. I actually feel like I've learned so much about the process how to make an animated movie.
I heard one time that the Superman glyph is the second or third most recognizable symbol on Earth after the Christian cross.
Yeah, I mean, I think I'm obsessed with tone in the movies. Tone has always been the main thing that I go after with a movie.
Music has that ability to be a magical thing, and I was like, maybe music is the vehicle that transports us to that other world.
I love the irony of movies. I really do. For whatever reason, I'm incredibly intrigued by the irony of reality in a motion picture.
It's difficult to find a movie that feels true to itself. You feel the hand of Hollywood, the moviemaking by committee, on everything.
I think Sin City is a good example. Nobody would accuse Sin City of being historically inaccurate because it takes place in modern times.
I imagine the film ["300"] as if I was a Spartan and I had never seen an immortal or a Persian, or an elephant or a rhino for that matter.
One of the things I think is important about 'Watchmen' is that it have resonance within cinematic pop culture as well as superhero culture.
I mean, it's weird because people lately have been coming up to me and going, 'Oh, my God. '300' is huge.' I'm like, 'Really? It's not done yet!
I guess for me - in the TV commercial world I was known for shooting locations, beautiful landscapes and things like that - so, it's interesting.
I mean, it's weird because people lately have been coming up to me and going, 'Oh, my God. '300' is huge.' I'm like, 'Really? It's not done yet!'
Probably the hardest thing to do was the beginning of the movie ["300"], I think, when we were in Sparta and all that - just getting in the groove.
Our plans for 'Superman?' I can't say. This is the most super secret thing ever. It's like working for the government, like I'm on a covert mission.
For whatever reason I was always obsessed with the potential of humanity's physicality. Especially since we grew up with such a non-physical philosophy.
To go back, the mistake that Universal Studios made with 'Dawn of the Dead' was that they didn't have enough money or cared enough to make a soundtrack.
The eyes get lost in 3-D. With 3-D, your eyes are looking for the plane of focus, right? And the problem is, when you do quick cuts, your eyes can't find it.
It's more like Christmas, you know, when you get a shot in that looks great and it's exactly what you want. It's a great feeling, and there's nothing like it.
I felt like, in the recent past, people have been apologizing for Superman, a little bit, for his costume, for his origins, and for the way he fits into society.
I mean, like, I can go in a room and say, look, 'Watchmen' should be at least 15 minutes longer than 'Batman.' I mean, that's, like, any geek will tell you that.
We didn't shoot in 3-D. They've talked about doing a conversion and there's been a lot of talk about us doing 'Sucker Punch' in 3-D, but I'm still waiting to see.
People have a very proprietary relationship with Superman. It's important to respect the iconography and the canon, but at the same time, you have to tell a story.
Anytime I've ever been involved in a non-linear story, you see it in a linear manner first, just to make sure it makes sense, and then you chop it up and move it around.
We've tried to make a Superman movie where he does stuff and you go, 'Yeah, if I was Superman, that's what I'd do.' Even though he's an alien, he's more relatable, more human.
don't mean to sound weird but I get so immersed in the source material when I'm working on a movie that I kind of lose the line between what I thought of and what was in the book.
'Watchmen' is like the music you feel is written just for you. 'That's my song, no one else gets that but me.' That's why the fan base is so rabid, because they feel personal about it.
The problem is, when you're making an animated movie, the studio has an illusion in their minds - and it's really not true - that because it's a drawing, it can be changed at any time.
I want to - we're working toward Justice League, and I really want to create the - part of the thing I really want to create is the possibility of a world where they could exist together.
We've tried as hard as we can into keep the ideas intact in the hail storm that is Hollywood, so, whether he is or not, I'm personally proud of what I've been able to jam down their throats.
[Writing something original from scratch], the initial process is way different. But once it exists and you start to actually work on making it real, then the approach is kind of the same, for me anyways.
Origin stories are really important to me. I just like that sort of stuff and I feel like it makes a lot of sense to the guys, who they are. If you don't have that stuff, it's kind of a one dimensional version of it.
We do like digital projection. We like shooting on film, finishing digitally, and projection digitally. That's what I like best. It's still a movie. It's not someone's camcorder and it got projected. That's mean, I know.
The truth is these characters [of Batman story] evolve, and there's a lot of hands in the supporting of these characters. It's great when everybody can know where everything came from. It's important for the legacy of them.
I think that when you see the trailer [on movie "300"] - my feeling is anyway and maybe I'm not objective because I live it - but I think when you see it you immediately go, 'Okay, this is another sort of way of doing this.'
The thing about owls is that they do sort of have this facial disc, which is unlike any other bird. They kind of have a face, more than like a dog or a giraffe. They have this weird, alien face that you can actually make expressive.
I think that, for me, Superman just seemed to make a lot of sense to me. After doing 'Watchmen,' it was - you know that thing, you've got to know the rules before you can break them? There was something about that in making 'Watchmen.'
People always come up to me now and say, 'Watchmen' is the best superhero movie ever made.' I'm always saying 'That's super cool. That's nice of you to say.' But it happens now, more and more and more than it did when it first came out.
In the sense that Watchmen references movies, comic books, pop culture in general. It knows it's a movie. I really do like movies that ride that fine line, the razor's edge between parody and supporting the fake movie part of the movie.