Neill Blomkamp

Neill Blomkamp
Neill Blomkampis a South African-Canadian film director, film producer, screenwriter, and animator. Blomkamp employs a documentary-style, hand-held, cinéma vérité technique, blending naturalistic and photo-realistic computer-generated effects. He is best known as the co-writer and director of the critically acclaimed and financially successful science fiction film District 9 and the dystopian science fiction film Elysium, which garnered moderately positive reviews and a good box office return. He is also known for his collaborations with South African actor Sharlto Copley. He is...
NationalitySouth African
ProfessionDirector
Date of Birth17 September 1979
Satire also allows you to make fun of every different aspect. It allows you to make fun of both sides. It allows you to make fun of everything, really, so you can do it in a harmless way.
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.
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.
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.
I think that, if there are topics that are just on people's minds, things manifest into reality out of the sort of global consciousness of being aware of those topics.
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.
I think the reason you use an actor is if they are right for the role. Most of the high-profile stars tend to be good actors. That's probably what led to their fame. So if they are right for the movie, you can certainly use them. But I don't want to, not at all. Stardom and Hollywood overpower the ideas and the film.
I think filmmakers in general are, as the tools become more and more advanced, you're able to tell stories in a way that I think is more realistic. The technology just wasn't there up until pretty recently, and it takes a bit of time for the normal artistic way of approaching something to become a mainstream thing.
If there isn't a deep core reason for a film existing, what is the point? For me to be known as a filmmaker that makes films that have a point, I'm stoked.
If you're not observing the world around you, in some sense you're not really an artist because then that means you're just replicating other people's stuff, or, I don't even know what you're doing.
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.
It's just my maybe naive, optimistic view that whatever knowledge we gain, and if it comes to pass that we can somehow understand what consciousness is, if we can somehow create that, it will ultimately be used for the good.
My own standards that I'll hold myself to is if the product that I'm making feels honest and it feels like I didn't compromise and it just came from an honest, correct place.
My point of view actually on artificial intelligence, which ties into the nature for humans constantly looking into the reasons for why we exist and why consciousness exists changed during the making of Chappie. And I'm not actually completely sure that humans are going to be capable of giving birth to A.I. in the way that films fictionalize it.