Quotes by: Neill Blomkamp
When any young director gets hired by a studio to do a $125 million film based on a preexisting piece of intellectual property, they're climbing into the meat grinder. And what you're coming out with on the other side is a generic, heavily studio-controlled pile of garbage that ends up on the side of Burger King wrappers.
The concept of even having fans is still kind of weird to me. I really just feel like a filmmaker that is only just finding my foot in and is beginning to participate in Hollywood and making films. So the idea of any kind of fandom or people that are waiting for something that I may release is very distant in my mind.
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.
I just want to make films that have enough of a budget to pull off high-level imagery but also have a budget that is low enough that I can do what I want.
The main stuff I like is from the late '60s to the early '90s. That's the stuff I love. It's the James Cameron's and the Paul Verhoven stuff. I guess when I was younger, 'Star Wars' had an influence.
The first film that I can remember seeing where, like, I just couldn't stop watching it - and it didn't necessarily make me want to be a director because I was so young, but it made me know that that's what I wanted to be doing - was 'Alien.' And I saw that when I was probably just over 10 years old.
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.
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 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 like where we're going with technology and global integration, but the fact that corporations and dollars rule everything in our lives, I don't like it. This isn't the Hollywood I wanted to be part of.
What I do is spend too much time thinking. Most of the time I just walk around annoyed. Would I describe myself as relatively happy, I suppose, but society gets to me. And the people that have mastered life seem to not care, and then they die, and then the grenade goes off.
If you're not observing the world around you, in some sense you're not really an artist because then that means you're just replicating other people's stuff, or, I don't even know what you're doing.
I just watch movies I like over and over. It seems to be a lot of sci-fi stuff. My favorites are probably - besides the first two 'Alien' films, I watch '2001', I watch 'Star Wars', the first ones, because those actually had a huge effect on me as well, 'Empire Strikes Back' especially.
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.
If I wanted to make something that actually made a difference roughly in this industry, I would make a documentary. That would be the closest I could come to actually try and make a difference.
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.
If something is as smart as you, do you treat it differently if it isn't a human?
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.
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 think there's a lot of crazy stuff on the Internet. You read stuff that is wild speculation, and there's an element of it that makes me not trust it because there's this undercurrent of insanity to it sometimes.
Satire also allows you to make fun of every different aspect. It allows you to make fun of both sides. It allows you to make fun of everything, really, so you can do it in a harmless way.
I think that, if there are topics that are just on people's minds, things manifest into reality out of the sort of global consciousness of being aware of those topics.
There is something fundamentally fascinating about the mechanics, I guess, of the human body and where consciousness and mind exist, and what you can do with the mechanics of the body while keeping those intact, and where those two cross over.
If there isn't a deep core reason for a film existing, what is the point? For me to be known as a filmmaker that makes films that have a point, I'm stoked.