About Nicolas Roeg: Nicolas Jack Roeg is an English film director and cinematographer.
I like the probability of the impossible.
I was always a bit arty-farty as a boy. 'Come on, Mr. Arty-Farty,' my sister used to say to me.
My father was an extraordinary man.
I've never tried to enhance my reputation. Never moved upwards from one thing to another. That sort of thing is of no interest to me at all.
I wouldn't like to be a non-believer in anything.
I think the big studios shaped and formed the artists that they put under contract.
Oh, some of my films have been attacked with absolute vitriol!
We all have our beliefs or our agnosticism.
We're all influenced by everything unless we're locked in an empty room.
Too many films today feel formulaic and familiar. I prefer it when the familiar is made to feel strange.
We can't get our youth back.
Youth is so exciting. It'll take over. I don't want to be swept away. I want to be with the taking-over people, right to the end.
Don't you think it's something strange that you rarely look at yourself in the mirror, except to do things like stand and ponder? I mean, in Shakespeare's day, it was thought that the mirror would reveal something, that it is trying to tell you somet...
I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.
I've always admired the tradition of storytellers who sat in the public market and told their stories to gathered crowds. They'd start with a single premise and talk for hours - the notion of one story, ever-changing but never-ending.
When my sister and I were very young, my father used to tell us fairy stories that he'd made up. My mother was always telling him that he should write them down, but he would say, 'Well, they've all been done before. There are so many blooming books ...
Oscars are won with two or three shots only, because if it's really beautifully photographed, you don't really notice it until the astounding moment emphasizes it.
Any cuts that are done to any film, they're usually things that have some personal resonance for whoever has got permission to cut it and feels they should. But it has very little to do with the actual weight, the truth, of the piece.
Any change in form produces a fear of change, and that has accelerated. Marketing is the death of invention, because marketing deals with the familiar.
There was a village watercolour society and they'd come and paint in my field. I watched them from the window, the way they would struggle this way and that to find the perfect moment. God has made every angle on that beautiful, and I felt that treme...
Some people are very lucky, and have the story in their heads. I've never storyboarded anything. I like the idea of chance. What makes God laugh is people who make plans.
