Joseph Kosinski Quotes
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I'm a huge electronic-music fan.
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The commercial music video industry is very hard to break into, and until you break in, that first job is the hardest thing in the world to get.
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For me, I feel like, between 'Tron' and 'Oblivion,' I've gotten to fulfill my 'Star Wars' fantasies, in a way.
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There are a lot of limitations so you have to ultimately focus on what you think the most important storyline is.
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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.
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I don't think every movie should be made in 3-D, and it should depend on whether it's one of these films that's more immersive or needs to be taken to another world. I'm interested in other formats.
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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.
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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.
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Disney's clearly in the business of doing giant tent pole movies based on properties that they own. And that's what they should be doing because they're great at doing that.
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Any film is a collaborative process, you've got thousands and thousands of people working on it.
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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.
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You want the film to be critically successful - you certainly want the film to be financially successful so that you can...well, because that's how movies like this are made, you know, they need to make money. But as a director, you can only make the movie that you want to make.
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Technology can do amazing things for us. It's something we need to keep an eye on.
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As a director, if you know what you want, then it's not scary.
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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.
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It's a fine line to find that balance: to show people enough to give them the promise of something unique, and something they want to see, but at the same time make sure that when they show up for the movie, they're surprised by what they eventually get.
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I think that while you're making the film it's important to just keep your eye on the ball and make the best movie you can, and then realize that it's out of your control.
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Of course there are always exceptions, but opinions are not to be feared.
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An established property can be a blessing and a challenge. On one hand you have all those fans of the original that you can pick up with and continue on with but then you have a lot of people out there who haven't seen the first and might feel like this isn't a movie for them because of that.
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I love movies that ask big questions but don't necessarily answer everything. I like people walking out thinking about something.
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Go out and make something that reflects your interests, your taste, and your ideas. No one will pay you to make something until you have a few things you can show that you've directed. I got my start by making short films on my own.
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For me the Blu-ray version is kind of the definitive version of the movie.
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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.
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That's the tricky thing these days: being able to surprise people.
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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.
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I think the excitement of movies is discovering stuff you weren't expecting, and I hope to preserve that.
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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.
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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.
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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.
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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.
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