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Neill Blomkamp quotes

A lot of America is kind of done. People have been making films about it for 100 years. Everything to me feels used up. But Jo-Burg feels unbelievably inspirational to me.

I have zero strategy for my career - like, zero. I could get as much satisfaction about doing a $20,000 shot film the same way I could do a $100 million film with a bunch of effects.

In a lot of the really impoverished areas of Johannesburg you see these packets of cheesy puffs which are like 6 feet long and the width of a basketball, and they're transparent and they have like 10,000 cheesy puffs in them, and you can buy that for like 50 cents. It's kind of a weird treat that you'd see people having in the townships.

'Chappie' would be like 'RoboCop,' but hilarious. If you mixed 'Robocop' with 'E.T.' and it was... funny, that's what it is.

High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script.

I still really love the world and the universe and the mythology of 'Halo.' If I was given control, I would really like to do that film. But that's the problem. When something pre-exists, there's this idea of my own interpretation versus 150 other people involved with the film's interpretation of the same intellectual property.

I think our problems are inherently unsolvable. We need to change our genetic make-up or create computers that will think us out of it. I don't think humans are able to deal with what we have.

I think that in the realm of commercial, popcorn cinema, the amount of message or smuggling of ideas you can get in there is quite limited. Like, if you think you're going to make a difference or change anything, you're on pretty dangerous thin ice.

I think there's a lot of crazy stuff on the Internet. You read stuff that is wild speculation, and there's an element of it that makes me not trust it because there's this undercurrent of insanity to it sometimes.

When any young director gets hired by a studio to do a $125 million film based on a preexisting piece of intellectual property, they're climbing into the meat grinder. And what you're coming out with on the other side is a generic, heavily studio-controlled pile of garbage that ends up on the side of Burger King wrappers.

I actually think Johannesburg represents the future. My version of what I think the world is going to become looks like Johannesburg.

I never really think of something in terms of what not to do. It's always what's appealing or what's cool.

I think the world of 'District 9' has a lot of race and oppression-based ideas that I would still like to explore in that world.

If something is as smart as you, do you treat it differently if it isn't a human?

If you don't have something that glues the audience to the screen, you're in trouble.

A lot of parts of L.A. are interchangeable with suburbs in Joburg. Very big, ostentatious houses with palm trees and lawns. Lawns are very important. Never underestimate lawns.

'District 9' was a singular anti-Apartheid metaphor, and 'Elysium' is a more general metaphor about immigration and how the First World and Third World meet. But the thing that I like the most about the metaphor is that it can be scaled to suit almost any scenario.

'District 9', 'Elysium' and 'Chappie' were all born out of some visual concept first. 'Chappie' is the imagery, because I think I'm a visual person first, of this ridiculous robot character. It's much more comedy based and in an unusual setting.

I don't put any pressure on myself in terms of what people or fans do or don't want. It really just doesn't occur to me. I honestly just want to make the films I want to see as a fan. The film will survive or fail in my mind by how much I like it. Having said that, everyone wants their films to do well and to be well-received.

I don't want egos and personalities on the set that make it more difficult to make the film. I don't want people who take the focus away from the movie and the ideas behind the movie.