Tony Scott Quotes

We think of enterprise architecture as the process we use for fully describing and mapping business functionality and business requirements and relating them to information systems requirements.

At one time, I would actually ride around to movie theaters to check the lines.

The true excitement comes from the actors - that gives you the true drama - and whatever I can do with the camera, that's icing on the cake.

The real world has always been far more exciting and funny and dangerous to me than anything somebody could conjure up sitting in front of a computer.

Its very hard trying to talk to an actor about how they should deliver lines, or cut their hair, unless it comes from a place of a strong point of view.

We come from a tough, working class background, so we're very tight.

What always leads me in terms of my movies are characters.

New York is vertical - all skyscrapers.

Making a movie is like a marathon, and commercials are like sprints - they're equally satisfying, but in different ways.

Research is what drives me. When I get a script, I go to the real world and touch the real people.

I can't sit on my bum very long in a movie theater seat, and when I'm directing, I always want to move the camera or edit.

An established film director can just pick up the phone and say to a star, 'Hey, are you interested in doing a commercial?'

Ridley and I talk every day. Our family is very close because we're from North England.

The hardest scene for me is always the scene when I'm dealing with performances, when I'm actually looking at the guys and hoping that I'm covering it in the right way and that I'm handling it in the right way.

All my movies, like Revenge, are under two hours.

With every movie I do and every day I go to work, my goal is not just to reach for difference, but also figure out how to look at world and characters in a different way.

I'm a plagiarist - I always look back at other movies, and I steal, but I steal well, and I reinvent.

We don't ever want IT to be the thing that holds GM back.

Mum was the matriarch and the patriarch of the family.

I always get role models, people from real life who've lived the lives of the characters, and talk it through together, me, them and the actor, a lot. That helps. We certainly have our disagreements. But in the end we trust each other.

GM is a highly collaborative organization; we rely on a whole tier of suppliers for everything that we do.

The real world is where I get to educate and entertain myself. I go and touch the real world and touch real people. That's my way into movies.

Shooting in real-life situations helps actors because they're competing against the noise and the wind. Out of that comes things that shift and change, in terms of tone, but not in terms of re-honing the whole sequence.

Dad was a very gentle, sweet man.

I always get everyone prepared so there aren't so many arguments on set. I have a policy that the first thing I do in the morning is go over to the trailers and discuss exactly what we're shooting that day. It's time-consuming, but it reduces the chances of 'misunderstandings' on set.

The world is sick of big IT things that don't work.

A lot of actors talk about doing their homework, but very few of them do it.

If you look at my body of work, there's always a dark side to my characters. They've always got a skeleton in the closet; they've always got a subtext.

I'm always dictated to be what I want to do, and I have a love affair with every movie I've done, and some of them have turned out good, and some of them have turned out not so good. But regardless, the making of them, or that love affair, has always been a great experience.

Dad was a very gentle, sweet man. Mum was the matriarch and the patriarch of the family. She ran the roost with a steel fist, but at the same time there was respect and love for her.

I think the guiding principle for me is working with people, because I don't know how long it's going to last, I want to seize the moment and work with people I want to work with.

There's one great script that hit my desk that I didn't change at all, and that was True Romance.

I wake up every morning bolt upright, whether it's a commercial, not that that's a good thing or a bad thing, because I shoot commercials in between movies. But whether it's a commercial or a movie where I'm shooting a major train wreck, the thing that worries me most is when I'm doing a performance thing.

The biggest edge I live on is directing. That's the most scary, dangerous thing you can do in your life.

I've had a love affair with every movie I've ever done.

The scariest thing in my life is the first morning of production on all my movies. It's the fear of failing, the loss of face, and a sense of guilt that everybody puts their faith in you and not coming through.