Rian Johnson Quotes
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That's part of the appeal of time-travel movies: The notion of going back and fixing something.
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Well, you know, we all grew up as 'Star Wars' fans.
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All my favorite movies are somebody else's least favorite movie.
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If you make something interesting, inevitably not everybody is going to like it.
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Hopefully with each thing that you do you're learning something, you're growing, and you're pushing yourself a little harder in some way or another. So I think you'd be in real trouble if each new thing that you create didn't feel like 'Oh, wow. I feel like I'm doing something a little different this time.
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The critical reaction to 'Bloom' has been similar to 'Brick.' There are people on board with it and people who are not.
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You go from these high hopes when you're writing to just a desperate want of not making a complete fool of yourself by the end of it.
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The momentum of production keeps you from giving up, so it's really the editing and writing phases where things can look bleakest.
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Writing in a lot of ways feels more like excavation than construction. It feels like you're uncovering this thing bit by bit, discovering what it is, instead of constructing it upwards.
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I'm a sci-fi fan, and I guess you have to let go of some of that at some point, and realize that as long as you're focused on telling a story that you care about, at the end of the day, that's what really matters, even to hard-core sci-fi fans.
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Memory is a form of time travel. That's something we do during the course of the day, every single day. The idea of actually being able to physically adjust that and change it instead of being haunted by it is a really human thing.
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Game of Thrones' is just incredible, what they pull off every week.
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In almost the same way you know what your grandmother looks and sounds like, you know what Bruce Willis looks and sounds like.
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I do love science fiction, but it's not really a genre unto itself; it always seems to merge with another genre. With the few movies I've done, I've ended up playing with genre in some way or another, so any genre that's made to mix with others is like candy to me. It allows you to use big, mythic situations to talk about ordinary things.
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Then I saw it. I saw a mom who would die for her son. A man who would kill for his wife. A boy, angry and alone. Laid out in front of him, the bad path. I saw it. And the path was a circle. Round and round. So I changed it.
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I bristle a little when the argument for film gets put into the nostalgia ghetto. Film is still the highest quality and best-looking image capture medium available. I don't think it always will be. The digital image will get better, and it will eventually surpass the quality of the film image, but it isn't there yet.
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When you're writing is when the "god should I just drop this" feeling can hit. When you're editing is when the "god this is awful and I've wasted everyone's time and money and will be revealed as a fraud" feeling can hit.
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When I see a news story on a site, about a movie that I'm interested in, it's like the mouse going for the pleasure button and I click it. But then, when I see the movie, it's like, "Oh, I would have enjoyed the movie that much more, if I hadn't known that."
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Showing your movie to an audience... it's like your kid doing a piano recital. 'Just let it not fail. Please.
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The fanboy community can smell in an instant, like smelling fear, when something was tailor-made in order to reach them as a demographic.
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You never want to make a "message movie," but you always want to be talking about something that you care about.
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All of us have that feeling of some deficiency from our childhood. I think that's a universal thing.
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I really spend as long as I can sketching everything out and working on the structure before I sit down to type out scenes.
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Teen movies often have an unspoken underlying premise in which high school is seen as less serious than the adult world. But when your head is encased in that microcosm it's the most serious time of your life.
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I think what I love about science fiction and what sci-fi can be really good at is obviously you're working with outlandish concepts that have very little to do with the real world, like time travel for instance.
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There's something about the sci-fi genre that gets an audience interested in it, so maybe you can take some risks that you couldn't, if you were just doing a drama. It lets you maybe reach a little further and surprise people a little bit more because there's still that little safety base of working on that genre that everybody loves.
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Unlike some of the time-travel movies I love, like 'Primer' or '12 Monkeys,' 'Looper' is not about time travel. It's about this situation that time travel creates and the people dealing with that situation. So narratively, the big challenge was to have time travel get out of the way.
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My filmmaking background has really just been making movies with my friends since I was 12 years old. That's how I feel I learned how to tell a story visually, by just going out with a video camera and making movies with my friends and family.
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With 'Brick,' I wrote the script when I was 23 and didn't make the movie until I was 30.
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Belgrade has kind of a Dublinesque, dear-dirty charm.
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