Terrence Vance "Terry" Gilliam (/ˈɡɪliəm/; born 22 November 1940) is an American-born British screenwriter, film director, animator, actor, comedian and member of the Monty Python comedy troupe.
I don't think you ever learn just one thing. At some point you start unlearning things. I have been working hard to unlearn everything I know.
Port Talbot is a steel town, where everything is covered with gray iron ore dust. Even the beach is completely littered with dust, it's just black. The sun was setting, and it was quite beautiful. The contrast was extraordinary, I had this image of a guy sitting there on this dingy beach with a portable radio, tuning in these strange Latin escapist songs like 'Brazil. ' The music transported him somehow and made his world less gray.
I want brave people. Fearless ones. A good actor just goes out and leaps off the edge and develops wings on his way down, hopefully. That's the kind of people I really enjoy working with. Playing safe isn't much fun. I like danger. It's controlled danger, always, and that's why I hope I don't lure too many good actors down into the pits with me, because I hope they maintain their own unique talents.
Writers do the self-censoring before they even get to the studio executive, because they know the film will not run that gauntlet. They, because they want to get their films made, they censor it.
You get trapped by stories. Though I've got this reputation for being out of control, it's not true, it just happens to be a more interesting story than the truth.
There's something about living in the country that I think makes you inventive, because nature is full of miracles and wonder and surprises, and if you don't have much money, you have to make things if you want things.
There are moments when television systems are young and haven't formed properly, and there's room for lots of original stuff. Then things become more and more top-heavy with executives who are trying to guarantee the success of things.
Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it – I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world. ' And it's not the world. The world is a million possible things.
Now, anybody can make a movie, and I don't see that many great movies, because I think there's only a limited amount of talent out there.
I was getting frustrated with America. It's interesting how as simple a thing as, like, letting your hair grow longer changed in the world in those days.
Every few years when it's been another five years that have passed and I haven't made a film and the depression starts taking over totally, I allow myself to do a commercial. And then I feel really dirty and get to work promptly.
I'm overwhelmed by writers. Most people aren't impressed by writers, but if you can draw a cartoon or a picture, they think you're magic.
They pay money to watch the same film. Now, you could argue, that's because it makes them feel comfortable. When they go to a movie now, it's almost like hearing a pop song. You know the rhythms, you know when the downbeat is going to come, you know when the explosion is going to come… And so as life becomes more complex, as the economy is in trouble, people cling to what makes them comfortable, so they go again and again to see the same movie.
I like being a patron of things, I like patronizing things. And if it's not going to be people, I'll patronize a festival.
I was an incredible Anglophile. I found people who shared the same sense of humor and attitude toward the world.
I was doing political cartoons and getting angry to the point where I felt I was going to have to start making and throwing bombs. I thought I was probably a better cartoonist than a bomb maker.
Nooo! Leave that to George Lucas, he' s really mastered the CGI acting. That scares me! I hate it! Everybody is so pleased and excited by it. Animation is animation. Animation is great. But it's when you're now taking what should be films full of people, living thinking, breathing, flawed creatures and you're controlling every moment of that, it's just death to me. It's death to cinema, I can't watch those Star Wars films, they're dead things.
Nobody went to see Tideland! I was hoping people would get angry about it but those that saw it didn't want to talk about it. This is the world we're living in, people don't want to discuss things that are actually worth discussing.
I hate losing laughs; they're rare things.
It's hard for me to worry about the studios losing money. I'm not very sympathetic to their money problems, because they certainly haven't been sympathetic to mine.