There are a lot of limitations so you have to ultimately focus on what you think the most important storyline is.
I'd like to have the script in a much better place from day one of shooting, rather than trying to continue to work on it while you shoot it. I think those are lessons you learn on any film.
I heard, one of my producers told me this story where like the Hollywood studios brought all these high-end consultants in to try to figure out how to improve their process and make films more efficiently, and these consultants like studied the process for years and finally came up with this report they put together about how studios can improve the efficiency of their process, and the conclusion was "have the script ready by the time you're shooting.
I always had some kind of creative side and technical side, and I thought architecture might be the way to combine them, so I went to architecture school in New York.
When I was in architecture school, rather than giving us drafting boards and t-squares and lead pencils and stuff they gave us all the same tools that places like Digital Domain and ILM used to make features films or special effects. They gave us all these digital tools like Alias and Mya and Soft Image and all these kind of high-end computers, so I came out of architecture school knowing how to use all that stuff. And I started making short films at night.
I grew up in a place where no one knew anyone in the entertainment business, I never knew it was an actual career.
Sometimes with these things all the pieces fall into place. I mean, we've been talking about this for years and we don't have the script now, but sometimes things fall into place very quickly, and if everything lines up it could happen.
So Disney has their full support behind it, which is great, but again it's got to be the right story. It's got to be a script that's up to snuff and worth going back for. The idea's there, the ambition's there, the excitement's there; but we need to have all the pieces in place before they would ever pull the trigger on that.
But the script's got to be at a level that makes it worth going back for, because it's a lot of work to make a movie like this and it's a multi-year project. So we've got our writer Jesse Wigutow on it right now writing, and fingers crossed if it all comes together, as we hope it will, there could be another Tron in the next few years, and it's going to be awesome.
So however much time has passed since Legacy came out would also have transpired in the real world. So it will still be contemporary. So let's say if the Tron sequel comes out later, then four or five years have passed since the last movie.
The idea itself, the notion of what the next Tron could be, is exciting enough that it would be worth going back to do it. Obviously we hinted some things at the end of Legacy, it's kind of there for people to see what that potential is. So we just want to make sure that we have a script that delivers on that promise on an epic scale."
I've said it would have to be our Empire Strikes Back for me to come back and for me to pull the whole team back together. I think we do have that idea. We do have the idea that feels big and really blows the doors off this franchise. It's hinted at promises of something for two movies now, for thirty years, so it's time to deliver on that.
Well the only reason to go back, for me and I think for anyone involved would be if we could do something truly spectacular. We've been talking about it for a couple years and there's always been this idea, a big idea, in the back of my head that we've been talking about.
Tom [Cruise] is a great producer himself. He's got great sense of story. It's always great to have the perspective of the person who's playing the character in your film.
I think some people are under the impression that you can simply just shoot it on blue, and then it's all done in post. But no, you really need to understand the pipeline, from beginning to end.
In a science fiction movie, the first act is a little longer than it is in most movies because there is so much world building to do.
Technology can do amazing things for us. It's something we need to keep an eye on.
You won't believe how many people have congratulated me around the world for shooting a movie in 2D. It's bizarre. It's the strangest thing.
The movies I make and my interests are always about pushing the technology as far as we can in support of telling great stories and showing an audience things they haven't seen before.
I don't wear glasses, so I like the idea of not having to put them on to watch a movie. It's a hard barrier to get beyond.
Hopefully, great science fiction films help you think about issues that relate to yourself, whether it's: What's my purpose? Why am I here? What is it that makes me who I am? Those are the kind of questions my favorite science fiction films ask.
I was always looking for a career that could combine my creative interests with my technical side, and it ends up directing films is the perfect combination.
You never want to intentionally make a confusing movie.
I love movies that ask big questions but don't necessarily answer everything. I like people walking out thinking about something.
It's important to listen to those around you, and ultimately you have to decide which path you're going to go down.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: