I'm used to very strong women because my mother was particularly strong, and my father was away all the time. My mother was a big part of bringing up three boys, so I was fully versed in the strength of a powerful woman, and accepted that as the status quo.
When you're in the editing room, the dangerous thing is that it becomes like telling a joke again and again and again. Eventually, the joke starts to not be funny. So you have to be careful that you're not throwing the baby out with the bath water.
If studios don't get their money back, we don't have any movies. So it is important that films are successful, and I am fully supportive of that because I'm not just a director, I'm also not stupid. I've been in this business long enough and, to a certain extent, I'm a businessman; I know the importance of that.
I'm agnostic because I went through the usual process of parents insisting you go to church, and yet they didn't. So there's me, sitting in the chairs, thinking, 'Jeez, why am I here? I'd rather be playing tennis, seriously.'
Blade Runner appears regularly, two or three times a year in various shapes and forms of science fiction. It set the pace for what is essentially urban science fiction, urban future and it's why I've never re-visited that area because I feel I've done it.
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.
Churchill strikes a note in my life because my father worked on Mulberry Harbour, which was the code name for the temporary concrete harbours which were towed across the Channel to make the D-day landings in France possible.
The word 'religion' is only a label. What lies behind that, the most important thing of all, is the word 'faith'. You either have faith, or you don't have faith, or you have degrees of faith - and if you have degrees of faith, then you become agnostic. You're kind of in-between, or you're on the fence.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
On rare occasions, Dad used to reminisce about when he met Eisenhower and how Churchill would pop in, in the late hours of the evening or night, carrying a cigar, when he'd obviously had a good dinner.
Because I was a kid from north of England, the only films I had access to was not alternative cinema, which in those days would be foreign cinema; I would be looking at all the Hollywood movies that arrived at my High Street.
For 'Prometheus,' I came back to a very simple question that haunted me that appears in the first 'Alien,' and no one answered in subsequent Alien films: who was the 'Space Jockey' - the big guy in the seat? If you really go into that, it becomes the basis for a pretty interesting story.
There's great wine from Australia, New Zealand, South Africa, Chile and, of course, California. But there's nothing like a really great French wine, they're so well balanced. The better the wine, the less you feel the effects I think.
I'm not criticizing Hollywood because I work there, I partly live there. But I'm saying this is the way it is, commerce is taking over art. Commerce has become the most important thing in the film industry. Hollywood is an industry, it's not an art form, therefore they have to address the bottom line. But in a way it's sad when you get a remake, isn't it?
I had been very impressed with the voiceover of 'Apocalypse Now,' with Martin Sheen's voice. That was a great voiceover; it really internalized the Martin Sheen character, who was essentially fairly low key and didn't say a lot during the whole movie. But he thought a lot, so I always thought that was really great.
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.
Scaring someone's the hardest thing to do, and that's why most of these scary movies are not scary. They're sick, but not scary. There's a lot of sickness out there, of people who then sit there and watch it, which I think is absolutely dismaying.
A word on 'Kingdom of Heaven:' if you get the four-disc set, which is 3 hr. 8 min., you'll see why it's such a good movie. It was a real passion project, and it's the film I'm most proud of. I think it was treated incredibly unfairly.
I had a quite unconventional childhood, in the sense that I traveled a lot and I went to 10 or 11 schools. I was completely confused academically, but wherever I went, I could paint. I painted an inordinate amount.
Alien' is a C film elevated to an A film, honestly, by it being well done and a great monster. If it hadn't had that great monster, even with a wonderful cast, it wouldn't have been as good, I don't think.
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.
Technology will need to make many more huge leaps before one can ever view films with the level of picture and sound quality many film lovers demand without having to slide a disc into a player, especially with the technical requirements of today's 3D movies.
Taking a comic strip character is very hard to write. Because comics are meant to work in one page, to work in frames with minimalistic dialogue. And a lot of it is left to the imagination of the reader. To do that in film, you've got to be a little more explanatory. And that requires a good screenplay and good dialogue.
One of the problems with science fiction, which is probably one of the reasons why I haven't done one for many, many years, is the fact that everything is used up. Every type of spacesuit is used up, every type of spacecraft is vaguely familiar, the corridors are similar, and the planets are similar.
I don't go to the cinema often anymore - I'd rather just pop in a disk and get the biggest monitor you've got, and if the quality is superb, I can watch a film, and if I don't like it I can pop it out.
The very first film I ever saw was a pirate movie called 'The Black Swan' with Tyrone Power. And I thought that was great stuff. Of course, in those days, Technicolor was really Technicolor; there was no such thing as desaturation. Everybody looked super suntanned.
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 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.