Ridley Scott

The U.K. has to keep investing in new technology, skills, and infrastructure to keep pace with international competition.

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.

I've gradually realised that what I do best is universes. And I shouldn't be afraid of that.

I was always aware that this whole Earth is on overload.

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.

You just don't know when you get all the paint across the canvas how it will turn out. When you step back after you've finished, you say, 'This one is not so good. This one is good.'

I would make a film with a political point of view if I agreed with it, and even, perhaps, if I didn't.

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.

I was one of those kids who tended to stay in on Saturday nights. My mother used to come and say, 'Why don't you go to the dance with the boys?' And I'm going, 'No, I'm perfectly happy.' I think my parents thought I was definitely weird.

If you ever have a kid who doesn't know what to do, stick him in art school. It's amazing what evolves.

I'll reshoot a corridor 13 different ways, and you'll never recognise them.

Actors are all different. They're not all volatile. Some are sweet, some are volatile, but what is fundamentally in there is something that has to be paid attention to, in that they are, I would say, needy.