Ridley Scott

I used to agonise over what to do next, but now I'm making a movie a year. It's insane, but it's only a movie after all. You just hang in there, and occasionally you might make something which you can call art... briefly.

The best stories come out of the truth.

In my view, the only way to see a film remains the way the filmmaker intended: inside a large movie theater with great sound and pristine picture.

I think over time I've learned to stop being a screamer and get interactive; otherwise, you get killed in Hollywood. I stopped being a screamer shortly after 'Blade Runner,' kicking doors and things like that, because I wasn't actually getting anywhere.

I've gradually realised that what I do best is universes. And I shouldn't be afraid of that.

Everyone is tearing each other apart in the name of their personal god. And the irony is, by definition, they're probably worshiping the same god.

When you're at a certain point in your time - age, that is, when you're older - you start to realize that, actually, what you leave behind you does count, and so you start to become fundamentally aware of your own destiny, which sounds very grand. It's not grand at all, actually.

Far from being dead, physical media has years of life left and must be preserved because there is no better alternative.

In film, it's very important to not allow yourself to get sentimental, which, being British, I try to avoid. People sometimes regard sentimentality as emotion. It is not. Sentimentality is unearned emotion.

The great film editor is not a cutter, he's a storyteller, right?

I'm really intrigued by those eternal questions of creation and belief and faith. I don't care who you are, it's what we all think about. It's in the back of all our minds.

The 3D world allows you to engage even more with a film because you're somehow drawn into the landscape or the universe of that scene. Even when it's two people talking at a table, you feel like you're a third party.

There has to be absolute trust between the tiger and its master, but its master must be the master - there must be no mistake about that.

If 'formulaic' is somebody who is unlikely to succeed starting down a process and succeeding - then isn't that what most films are about? And art films are about people who aren't likely to succeed and then don't succeed.

Choosing location is integral to the film: in essence, another character.