New York is vertical - all skyscrapers.
Tony Scott
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.
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.
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.
GM is a highly collaborative organization; we rely on a whole tier of suppliers for everything that we do.
I make a movie because it's something that inspires me.
We don't ever want IT to be the thing that holds GM back.
I've had a love affair with every movie I've ever done.
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.
I have a short attention span.
I thought that subtitles are boring because they're there generally to serve us with information to make you understand what people are saying in a different language.
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.
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.
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 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.
Out of the total of 11 movies, I got slammed.
A lot of actors talk about doing their homework, but very few of them do it.
All my movies, like Revenge, are under two hours.
There's one great script that hit my desk that I didn't change at all, and that was True Romance.
I think we're lucky because there are very few people in life who get to do what we're doing.
Ridley and I talk every day. Our family is very close because we're from North England.
We come from a tough, working class background, so we're very tight.
Dad was a very gentle, sweet man.
Mum was the matriarch and the patriarch of the family.
The biggest edge I live on is directing. That's the most scary, dangerous thing you can do in your life.
I like changing the pace of my life, changing my discipline. It gives me ideas for how to see the world differently.
We had a brilliant upbringing, and we never wanted for anything, even though we went through highs and lows of finances.
Dad never understood why Ridley wanted to go to art school, and then I came along six years later and wanted to do the same thing.
What always leads me in terms of my movies are characters.
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.
I'm a plagiarist - I always look back at other movies, and I steal, but I steal well, and I reinvent.
It was very hard breaking into the film industry in Britain. I had been to art school, and I was painting and doing commercials. And I did some of the very first rock videos.
At one time, I would actually ride around to movie theaters to check the lines.
Making a movie is like a marathon, and commercials are like sprints - they're equally satisfying, but in different ways.
An established film director can just pick up the phone and say to a star, 'Hey, are you interested in doing a commercial?'
My stories are pretty simplistic, but the characters are always complex and always right, and that comes from the script and my research and reverse-engineering what I find in the real world.
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.
