Movies and television show build on top of each other, succeed one another. In a large way, in terms of filmmaking aesthetics, they evolve because they can't help but be a consequence of all the movies and TV shows that came before it.
Every film tries to advance the state of the art, at least a little bit. Brand new techniques? A lot of them are just evolutionary: we're just building on something that's like something we've done before and just trying to do it a little bit better or make it a little bit more realistic.
I want to expand and not ignore the late 20th-century additions to filmed entertainment.
What's really frustrating with movies is the lack of improvement.
I think that cinema has always progressed through exchanges.
Cinema became what it is today when technology allowed movie directors and actors to develop emotion. You can see into the eyes of the actors and know when they are going to cry.
In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.
It would have been more logical if silent pictures had grown out of the talkies instead of the other way around.
If you think about it, most cinema is built along 19th-century models. You would hardly think that the cinema had discovered James Joyce sometimes.
It was a black and white film [at first]. And then it changed to colour film, and I was surprised and culture shocked when I was six or seven years old. And then HD, then 3D now. So what's going? What's coming next? It's so exciting.
