James Cameron Quotes
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I feed on other people's creativity, photographers, artists of every kind. Sometimes a feeling that you get listening to a song can be so powerful. I've wanted to write whole scripts around what I felt just listening to a piece of music. I think music is important, and surrounding your visual field with stimulating things.
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So much of literary sci-fi is about creating worlds that are rich and detailed and make sense at a social level. We'll create a world for people and then later present a narrative in that world.
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I love short trips to New York; to me it is the finest three-day town on earth.
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Nature's imagination is so boundless compared to our own meager human imagination.
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Inspiration can hit you in the head at any time in any context. It could happen in a conversation. Talking to someone at a party, you can get an idea. But you've got to remember those inspirations.
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You know, in the film making business no one ever gives you anything.
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I had pictured myself as a filmmaker but I had never pictured myself as a director if that makes any sense at all.
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My mother was a housewife but she was also an artist. My father was an electrical engineer.
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A woman's heart is a deep ocean of secrets. But now you know there was a man named Jack Dawson, and that he saved me in every way that a person can be saved. I don't even have a picture of him. He exists now only in my memory.
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It took me a long time to realize that you have to have a bit of an interlanguage with actors. You have to give them something that they can act with.
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Any direct experience that I have with indigenous peoples and their plights may feed into the nature of the story I choose to tell. In fact, it almost certainly will.
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To convince people to back your idea, you've got to sell it to yourself and know when it's the moment. Sometimes that means waiting. It's like surfing. You don't create energy, you just harvest energy already out there.
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I don't use film cameras. I don't do visual effects the same way. We don't use miniature models; it's all CG now, creating worlds in CG. It's a completely different toolset. But the rules of storytelling are the same.
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The snake kills by squeezing very slowly. This is how the civilized world slowly, slowly pushes into the forest and takes away the world that used to be.
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I watched a couple of really bad directors work, and I saw how they completely botched it up and missed the visual opportunities of the scene when we had put things in front of them as opportunities. Set pieces, props and so on.
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Writing a screenplay, for me, is like juggling. It's like, how many balls can you get in the air at once? All those ideas have to float out there to a certain point, and then they'll crystallize into a pattern.
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The Jacques Cousteau shows actually got me very excited about the fact that there's an alien world here on Earth.
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You have to not listen to the nay sayers because there will be many and often they'll be much more qualified than you and cause you to sort of doubt yourself.
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What are you gonna do, talk the alien to death?
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I certainly didn't think of myself as gifted. The standards for being gifted in my environment were if you were good in Little League or if you were good in football.
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Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.
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The films that influenced me were so disparate that there's almost no pattern.
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Storytelling is storytelling. You still play by the same narrative rules. The technology is completely different. I don't use one piece of technology that I used when I started directing.
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I'm a storyteller; that's what exploration really is all about. Going to places where others haven't been and returning to tell a story they haven't heard before.