io9 spoke with the director of Godzilla and Rogue One about expectations, secrecy, Star Wars collaborators, designs, and why he decided to put so many homages to sci-fi in the film.
world. She was the first person I ever met with and I kind of have to thank her for making that happen. W, we always talked about working together again. We had a really good experience together. She’s great. It’s kind of like you have a story in your head and it’s really hard and painful to get it out sometimes. It’s a very long process and you don’t know all the answers all the time and you kind of need a therapist.
got a really dark sense of humor and has a spiritual side to him. He’s one of these people that when you chat to him, you can have a very profound conversation and then it’ll flip on a dime into a really dark joke. And I feel like that’s how I like to talk, so I just get on with him so well. Also, I hate writing. Like it’s the worst homework in the world. And so I basically wrote a draft of the screenplay and Hossein Amini, who also worked on, he came in, did a draft, did amazing work and then he had to work on other projects. So Chris came in and did more drafts and essentially they made me look good. Chris has a very spiritual side to him that he brought to the movie.
I just don’t care. I’d much prefer “Let’s make it look good.” And when something looks good and you have an emotional response to it, or you just go, “Ooh!” and you get excited, then all the logic comes. Then you start going, “Oh, I think that’s this. And then that’s that.” If you let logic steer you to come up with the design, it would be rubbish. If you let feelings steer you hopefully you will get a good design and then it will make sense because subconsciously you arrive to that shape for a reason., in this movie, we have the pandemic to thank.
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