Best 44 quotes of Alex Garland on MyQuotes

As for me... I'm fine. I have bad dreams, but I never saw Mister Duck again. I play video games. I smoke a little dope. I got my thousand-yard stare. I carry a lot of scares. I like the way that sounds. I carry a lot of scares.

Dream life, I realized, was only confusing when you were awake. It was from the perspective of waking life that dream life seemed fractured and lacking consequence, lacking any certainty that one thing led to another. But from within dream life, the world was generally coherent. Not exactly an unconfusing world-just no more confusing than any other.

Escape through travel works. Almost from the moment I boarded my flight, life in England became meaningless. Seat-belt signs lit up, problems switched off. Broken armrests took precedence over broken hearts. By the time the plane was airborne I'd forgotten England even existed.

Every dream that anyone ever has is theirs alone and they never manage to share it. And they never manage to remember it either. Not truly or accurately. Not as it was. Our memories and our vocabularies aren't up to the job.

I carry a lot of scars. I like the way that sounds. I carry a LOT of scars.

I did keep a travel diary once and it was a big mistake. All I remember of that trip is what I bothered to write down.

I do all this alone, everything I achieve, I achieve alone, because it's my head I'm locked into, and I share this space with nobody but myself.

I don’t keep a travel diary. I did keep a travel diary once and it was a big mistake. All I remember of that trip is what I bothered to write down. Everything else slipped away, as though my mind felt jilted by my reliance on pen and paper. For exactly the same reason I don’t travel with a camera. My holiday becomes the snapshots and anything I forget to record is lost.

I don't like dealing with money transactions in poor countries. I get confused between the feeling that I shouldn't haggle with poverty and getting ripped off

If I'd learnt one thing from travelling, it was that the way to get things done was to go ahead and do them. Don't talk about going to Borneo. Book a ticket, get a visa, pack a bag, and it just happens.

If you look at the whole life of the planet, we - you know, Man - has only been around for a few blinks of an eye. So if the infection wipes us all out, that is a return to normality.

I knew my affection for the Philippines was equally as telling: a democracy on paper, apparently well ordered, regularly subverted by irrational chaos. A place where I'd felt instantly at home.

I think everything I write is from an atheist perspective. I mean, it's partly from an atheist perspective because I'm an atheist, and I'm just not really interested in religious-based questions.

It slightly depends on your perspective, sort of how you look at these things, but when I sit down to write a script, I'm not planning to write a script; I'm planning to make a film, and so I only see the script as being just a step there.

I used to think about video games, "This is clearly an amazing, new narrative medium, and it's going to be mind-blowing when people get to grips with what's possible within this medium." It took us a century to get really good at film. Video games are at a much earlier stage.

I've never been to Comic-Con, but I'm certainly aware from this side of the Atlantic that it's a very important part of film marketing now, even when the films are not directly linked to a comic.

I've written original material before, where I've come up with the idea and the characters myself, and that's definitely very different to working with someone else's characters and stories.

I wrote a whole novel before The Beach. Unpublishable. Junk. But, for some reason I stuck at novels and wrote a second. Still not sure why I didn't give up. Stubborn, maybe.

My first attempt at writing was very unstructured and formless, with shifting points of view. I was trying to understand how long form might work, and I realized I had something shapeless. It was a total car wreck. But I still felt I could pull it off. So I ditched that attempt and started writing in the opposite manner, in first person, with a driving narrative.

Normally, small talk is enough for me to form an opinion of someone. I make quick judgments, often completely wrong, and then stick by them rigidly.

Of course witnessing poverty was the first to be ticked off the list. Then I had to graduate to the more obscure stuff. Being in a riot was something I pursued with a truly obsessive zeal, along with being tear-gassed and hearing gunshots fired in anger.

Personally I don't think there's any real intrinsic difference between comic books, movies, theatre, novels. I know there's sure to be some differences of some sorts. I've worked on novels, films, and video games, and in an adaptation, I guess one of the issues is that I have to be in love with the thing I'm adapting before I do it. So that can cause a problem. You can be too scared of it. You could be too reverential. But at the same time you want to try to capture this thing that you're obsessed by. You're fixated for a reason. What's the reason? You try to get ahold of it.

Show people your stuff, listen carefully to their responses, but ultimately don't value anyone's opinion above your own. Be influenced by writers you dislike as well as writers you like. Read their stuff to figure out what's wrong. Find a balance between the confidence that allows you continue, and the self-critical facility that enables you to improve. Get the balance wrong on either side, and you're screwed.

The first I heard of the beach was in Bangkok, on the Ko Sanh Road.

The key relationship for writers in film is producers, because those are the first two people involved and the ones who work on it intensely in a private way without the big machinery of film.

There are one hundred glow-stars on my bedroom ceiling. (...) Glow-stars are strange. They make the ceiling disappear.

The success that comes from my books is not something I feel very comfortable with. Past a certain point you have to accept the idea that the success is a lot to do with the timing and luck and that divorces you from it massively. There are aspects of it that I haven't got used to at all. But I've enjoyed some parts of it massively. It relates to the same reason I did a lot of backpacking — partly for the experience — it's something to tell my grandkids. It's a weird chain of events to have in your life.

The thing about tourism is just that it's incredibly powerful. It's like a gun and it's incredibly easy to be irresponsible with it. And the speed of the impact that tourism can have on a place can be quite breathtaking. It doesn't take years, it takes months. That's how quickly it works. And it can be quite a bleak thing to witness.

The thing video games had to learn was to write, which is not to let people choose their own stuff, but actually prescribe it. To say, "This character is not a blank canvas that you can project onto. I'm going to tell you what this character is like. And I'm going to tell you what happens to them. You're going to feel involved in other ways." Video games made the mistake of thinking everything had to be projectable, and this doesn't do that at all.

Tourists went on holidays while travellers did something else. They travelled.

Uh... what can I say? Made money. Given a launch pad for a working life. Set a precedent I had no interest in following. Created expectations that I was not cut-out to match. Disappointed virtually all of my readers subsequently. But I like what I've done, and I stand by it all.

Vietnam, me love you long time. All day, all night, me love you long time.

Vietnam, me love you long time. All day, all night, me love you long time. (...) Dropping acid on the Mekong Delta, smoking grass through a rifle barrel, flying on a helicopter with opera blasting out of loudspeakers, tracer-fire and paddy-field scenery, the smell of napalm in the morning. Long time.

Well, if there's an infinite amount of chances for something to happen, then eventually it will happen - no matter how small the likelihood.

When I see 'Sunshine,' I see a film that part of me is kind of very proud of and another part of me is very sad about, so it's a really complicated film for me. And I've never been really able to resolve all that in myself.

When you develop an infatuation for someone you always find a reason to believe that this is exactly the person for you. It doesn’t need to be a good reason. Taking photographs of the night sky, for example. Now, in the long run, that’s just the kind of dumb, irritating habit that would cause you to split up. But in the haze of infatuation, it’s just what you’ve been searching for all these years.

You fish, swim, eat, laze around, and everyone's so friendly. It's such simple stuff, but... If i could stop the world and restart life, put the clock back, i think I'd restart it like this. For everyone.

An hour later we were walking past rows of busy beach huts and weaving between sunbathers and Frisbee games. I was surprised that people weren't taking more notice of us. Everyone looked so strange to me that I couldn't believe I didn't look equally strange to them.

He spoke in english. Not flawlessly by any means. Not like a Nazi POW camp commandant who appreciates english poetry and says things like 'you know, we are much alike, you and I I'. But good enough

I didn't get the impression that the policeman cared much about the whole thing either. After another thirty minutes of ruthless interrogation ('Can you ve'fy you eat banan' pancake?') he let me go asking me not to leave Khao San within 24 hours

Maybe to have a memory you need time for reflection, however brief, just to let the memory find a place to settle.

Moshe was an Israeli with an ear-slitting laugh. He used it in the same way as a madman uses a gun, spraying it around with bewildering randomness.

That was longer than a heartbeat.

You never listen to me anymore. Before, if I was talking to you, you would always listen. But now you have no time to even talk to me. 'Yeah... Has Keaty told you not to eat the Stew?' 'Richard!' I frowned 'What?' 'You are not listening to me!' '… Oh. Well I'm sorry. I've got a lot on my mind.' 'Not me.' 'Huh?' 'I am not on your mind.' 'Uh... of course you are.' 'I am not' she poked me in the ribs. 'I think you do not love me anymore.' I looked at her in astonishment '… Are you serious?' 'Very serious' she said petulantly 'But... I mean... do we have to talk about this right now?' 'Yes. It must be now. Etienne is not here, and maybe soon I will never see you agai...' 'Francoise!' I hissed. 'Keep it down!' 'Maybe I should keep it down but maybe I should not. In the dope field, when I would not be quiet, you pushed me to the ground and held me tightly'. She giggled. 'It was very exciting'.