Neill Blomkamp Quotes

There's no question that how Johannesburg operates is what made me interested in the idea of wealth discrepancy. 'Elysium' could be a metaphor for just Jo'burg, but it's also a metaphor for the Third World and the First World. And in science fiction, separation of wealth is a really interesting idea to mess with.

A lot of America is kind of done. People have been making films about it for 100 years. Everything to me feels used up. But Jo-Burg feels unbelievably inspirational to me.

I don't believe in director's cuts and I also don't really believe in deleted scenes because the movie that is in theaters, that's what the director made.

News is almost more interesting to me than other people's fiction, if that makes sense. But other people's fiction in terms of design is still incredibly interesting to me.

If something is as smart as you, do you treat it differently if it isn't a human?

Generally speaking, it's a very hard thing to wrap your head around that a drone operator in Nevada can be releasing munitions in the Middle East.

I had artists that refused to work on Chappie if they were working on a design that actually said Denel on the side of the thing. But anyway, it's the blurring of fiction and reality that was appealing and I certainly did not want them to be in the movie and not be themselves.

I think that 'Elysium' the movie is unrealistic, with the space station and everything. I think 'Elysium' the metaphor is completely realistic: it's exactly where we're going.

I think that people who make films and think they're changing the world are sorely mistaken. If that really is your goal, there are far better ways to do it. I'm making politically observant films for audiences.

The fact that natural selection and evolution crafted essentially carbon and water into a mechanism that can think and be conscious means there's nothing in physics that says you cannot do that to a greater degree.

High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script.

I was touching on the idea of the autonomous militaristic or autonomous law enforcement idea, but it wasn't the primary driving force.

I think the world of 'District 9' has a lot of race and oppression-based ideas that I would still like to explore in that world.

There's a lot of evidence in evolutionary sciences that show that altruism and acting in ways that are empathetic to others are actually beneficial on an evolutionary basis.

I don't want to make a film that offends people, but the whole world is so politically correct - I'm not going to not do something because it may be politically incorrect. At some point, the metaphors and allegories break down. They disappear, and you just have science fiction.

Johannesburg is weird, because half of it is like Los Angeles. It feels like just wealthy parts of L.A. But half of it is severe slummy, something like Rio De Janiero or something. So it's kind of weird, because it's both happening at the same time.

I never really think of something in terms of what not to do. It's always what's appealing or what's cool.

My own standards that I'll hold myself to is if the product that I'm making feels honest and it feels like I didn't compromise and it just came from an honest, correct place.

If the population curve is on an exponential growth, and the resources are on an exponential decline, what happens first is you get increases in wealth discrepancy, which means that you get rich pockets of gated communities with security guards outside them, and you get more and more poverty outside that area.

There has to be the popcorn genre element, or I don't engage the same way. I like action and vehicle design and guns and computer graphics as much as I like allegory. It's a constant balancing game. I want audiences to be on this rollercoaster that fits the Hollywood mould, but I also want them to absorb my observations.

I am a firm believer that the pull for human beings is towards the good, generally outweighing the bad.

If you didn't get it right and then you have to release a director's cut to undo what the studio made you release, I don't know, either it's some marketing thing for them to get more money or the director didn't do his job.

If you don't have something that glues the audience to the screen, you're in trouble.

'Chappie' would be like 'RoboCop,' but hilarious. If you mixed 'Robocop' with 'E.T.' and it was... funny, that's what it is.

If you look at the most meaningful science fiction, it didn't come from watching other films. We seem to be in a place now where filmmakers make films based on other films because that's where the stimuli and influence comes from.

I never think of things rationally or intellectually. I swear, every single decision I make is just instinct and my instincts tend to be accurate.

It's just my maybe naive, optimistic view that whatever knowledge we gain, and if it comes to pass that we can somehow understand what consciousness is, if we can somehow create that, it will ultimately be used for the good.

'District 9', 'Elysium' and 'Chappie' were all born out of some visual concept first. 'Chappie' is the imagery, because I think I'm a visual person first, of this ridiculous robot character. It's much more comedy based and in an unusual setting.

I do think that it's always okay to show too little. People will still be interested. So why show too much?

I love the idea of people being themselves in films.

If you just compare South Africans to the rest of the world, I think that white South Africans, and especially English-speaking white South Africans, are exactly the same as Brits or Australians or New Zealanders or Canadians or Americans.

I've learned more, and I understand the process a bit better now. I can try to see how long I want to take in each aspect of the filmmaking process, and then arrive at around the two-year end mark.

There are loads of sociopolitical, racial, class and future-planet situations that really interest me, but I'm not really interested in making a film about them in a film that feels like reality because people view that in a different way. I like using science fiction to talk about subjects through the veneer of science fiction.

I actually think Johannesburg represents the future. My version of what I think the world is going to become looks like Johannesburg.

A lot of parts of L.A. are interchangeable with suburbs in Joburg. Very big, ostentatious houses with palm trees and lawns. Lawns are very important. Never underestimate lawns.

'District 9' was a singular anti-Apartheid metaphor, and 'Elysium' is a more general metaphor about immigration and how the First World and Third World meet. But the thing that I like the most about the metaphor is that it can be scaled to suit almost any scenario.

If you're a theater director, you're not going to be prepared for the technical side. And if you're a technical director, you're not going to be prepared for the acting side. The only thing you can do is go through the meat grinder of your first film.

Deleted scenes are like in a middle gray zone. It's like, well, they're deleted because they're not good or you lost the battle and you couldn't put them in the movie.

I grew up as an artist. Science fiction allows for design and creatures and guns and all the stuff that I like as well. So I think most of the films I make, I'm sure, will be in that category. But I can also see myself making a film like 'Black Hawk Down,' and I could also totally do horror.

You have weak artificial intelligence, which is a robot or a computer system that follows a list of protocols and it's like yes/no answers that can be as complex as you want, and then you have strong A.I., which is basically like a human, like something that can think up a thought that's never been thought up or paint a painting or write a poem.

Obviously I don't want to make a film that offends people, but the whole world is so politically correct - I'm not going to not do something because it may be politically incorrect. At some point, the metaphors and allegories break down. They disappear, and you just have science fiction.

I think that in the realm of commercial, popcorn cinema, the amount of message or smuggling of ideas you can get in there is quite limited. Like, if you think you're going to make a difference or change anything, you're on pretty dangerous thin ice.

In the realm of strong A.I. or in the realm of human consciousness, I think that it's been something that troubles humans or forces us to look at it over and over for millennia, or as long as we've really been conscious, because there is no answer. There is no explanation for us, even for a one percent grip to hold on to. So we just don't know why we're here, we don't know how consciousness is created.

My favourite stuff is visual, and I always want to work with visual artwork. I think it depends on the person, but for me, photographs of an image of something interesting or inspiring is worth a lot more than words to me. I think every concept I've come up with and turned into films or that will be hopefully become a film comes from images first.

When I was in my early 20s, I was quite into Japanese animation. It's like the same thing that I end up always saying which is, imagery based stuff is the thing that really gets me.

This whole notion that the robot has to declare nuclear war is one part of the discussion, but it may not be reality. Reality is, maybe it can empathize to a far greater degree than we can and experience a way wider range of emotions. So, why not have a robot that can do that?

I think a lot of the inspirations for me are very instinctual and subconscious. I don't over intellectualize stuff much. It's a very instinctual thing.

I think people are destined for something incredible if we don't wipe ourselves out, but I think we're going to wipe 90 percent of ourselves out.