Best 42 quotes of Rian Johnson on MyQuotes

All of us have that feeling of some deficiency from our childhood. I think that's a universal thing.

Back before 'Brick,' I wrote a short film that I never ended up shooting: hit men in the present who work for a mob in the future who send their victims back in time. A guy is sent his future self, he lets him run, and the whole short was them chasing each other across the city. That sat in a drawer for 10 years until after I made 'Brothers Bloom.

Belgrade has kind of a Dublinesque, dear-dirty charm.

Even if I had $200 million, I’m very wary of overusing CGI. I think it’s a great tool and it can be used really effectively, but I feel like it does tend to be overused and especially in sci-fi stuff.

Game of Thrones' is just incredible, what they pull off every week.

Hopefully with each thing that you do you're learning something, you're growing, and you're pushing yourself a little harder in some way or another. So I think you'd be in real trouble if each new thing that you create didn't feel like 'Oh, wow. I feel like I'm doing something a little different this time.

I bristle a little when the argument for film gets put into the nostalgia ghetto. Film is still the highest quality and best-looking image capture medium available. I don't think it always will be. The digital image will get better, and it will eventually surpass the quality of the film image, but it isn't there yet.

I do love science fiction, but it's not really a genre unto itself; it always seems to merge with another genre. With the few movies I've done, I've ended up playing with genre in some way or another, so any genre that's made to mix with others is like candy to me. It allows you to use big, mythic situations to talk about ordinary things.

I do think that I'm a big believer in having an idea or having ideas and just tucking them away in the back of your brain. Even if you aren't consciously thinking of them, I think they simmer. You're working on them, even if you don't know you're working on them, and I think having something in your head for a while is a valuable thing.

I feel like people want to be surprised when they get out of the movies. They want something thrown at them they didn't expect. They want stuff that reminds them of the feelings that you get when you're watching art house movies but with the fun of like a big summer movie. That's the goal, I guess.

If I spend a year and a half writing a script, the first year will be outlining in notebooks. It's just the way I work, definitely not necessarily the best way.

If you make something interesting, inevitably not everybody is going to like it.

I just don't think CGI is up to manipulating the human face yet. I feel like you can get away with it with aliens or monsters or something that's intentionally foreign, but I have yet to see anything digital to do with the human face that doesn't just look ridiculous.

I'm a sci-fi fan, and I guess you have to let go of some of that at some point, and realize that as long as you're focused on telling a story that you care about, at the end of the day, that's what really matters, even to hard-core sci-fi fans.

I'm definitely a big believer in the notion that a heightened style can get you closer to an authentic human experience than so-called realism on film. There are films I love that have kind of a muted or realistic style, but for me on any given day I have more moments during the course of a day that feel like a Fellini movie than I do a Cassavettes movie.

I mean, the first “Back to the Future” is kind of a perfect script, I think. In terms of handling time travel the best, it depends on your definition. To me, that means it effectively uses it in the story.

In almost the same way you know what your grandmother looks and sounds like, you know what Bruce Willis looks and sounds like.

I really spend as long as I can sketching everything out and working on the structure before I sit down to type out scenes.

I think what I love about science fiction and what sci-fi can be really good at is obviously you're working with outlandish concepts that have very little to do with the real world, like time travel for instance.

Memory is a form of time travel. That's something we do during the course of the day, every single day. The idea of actually being able to physically adjust that and change it instead of being haunted by it is a really human thing.

Much of directing [a movie] is not directing but just listening and being present in the moment and just keeping your eyes open.

My favorite sci-fi always uses its hook to amplify some bigger theme or idea - some emotional thrust.

My filmmaking background has really just been making movies with my friends since I was 12 years old. That's how I feel I learned how to tell a story visually, by just going out with a video camera and making movies with my friends and family.

Rather than thinking in terms of a specific genre or specific kind of thing, I hope I can just stay relatively small and keep making my movies. If I can keep writing them and making them, I'll be happy.

Showing your movie to an audience... it's like your kid doing a piano recital. 'Just let it not fail. Please.

Storytelling wise, you've gotta take it as far as you can possibly take it with each individual movie. If you're holding out something for a sequel or some cliff-hanger, that's not how I think of a satisfying story.

Teen movies often have an unspoken underlying premise in which high school is seen as less serious than the adult world. But when your head is encased in that microcosm it's the most serious time of your life.

The critical reaction to 'Bloom' has been similar to 'Brick.' There are people on board with it and people who are not.

The fanboy community can smell in an instant, like smelling fear, when something was tailor-made in order to reach them as a demographic.

The momentum of production keeps you from giving up, so it's really the editing and writing phases where things can look bleakest.

Then I saw it. I saw a mom who would die for her son. A man who would kill for his wife. A boy, angry and alone. Laid out in front of him, the bad path. I saw it. And the path was a circle. Round and round. So I changed it.

The only advice I can really give to the young filmmakers is to be persistent, don't give up, and keep watching and making as many movies as you possibly can.

There's something about the sci-fi genre that gets an audience interested in it, so maybe you can take some risks that you couldn't, if you were just doing a drama. It lets you maybe reach a little further and surprise people a little bit more because there's still that little safety base of working on that genre that everybody loves.

Unlike some of the time-travel movies I love, like 'Primer' or '12 Monkeys,' 'Looper' is not about time travel. It's about this situation that time travel creates and the people dealing with that situation. So narratively, the big challenge was to have time travel get out of the way.

When I see a news story on a site, about a movie that I'm interested in, it's like the mouse going for the pleasure button and I click it. But then, when I see the movie, it's like, "Oh, I would have enjoyed the movie that much more, if I hadn't known that.

When you're writing is when the "god should I just drop this" feeling can hit. When you're editing is when the "god this is awful and I've wasted everyone's time and money and will be revealed as a fraud" feeling can hit.

Writing in a lot of ways feels more like excavation than construction. It feels like you're uncovering this thing bit by bit, discovering what it is, instead of constructing it upwards.

Writing sucks. I think it's terrible. Writing is not fun, and don't trust anyone who claims to enjoy it. Liars!

You come out of each movie just thinking, "God, if we can fool them into letting us make just one more, we can get it right.

You go from these high hopes when you're writing to just a desperate want of not making a complete fool of yourself by the end of it.

You never want to make a "message movie," but you always want to be talking about something that you care about.

Heeded my words not, did you? Pass on what you have learned. Strength. Mastery. But weakness, folly, failure also. Yes, failure most of all. The greatest teacher, failure is. Luke, we are what they grow beyond. That is the true burden of all masters.