At 87, the acclaimed filmmaker behind cinematic landmarks like Alien and Bladiator remains a formidable creative force, driven by efficiency honed over decades and a steadfast commitment to his artistic principles.
The director recently revealed he walked away from a staggering $20 million offer to helm Terminator 3. “I can’t be bought,” he stated, explaining that the project’s inherently comic-book nature clashed with his own realistic directorial style. He drew a parallel to the James Bond franchise, noting its campy essence is something he would likely “fuck up” by attempting to ground it in reality.
His current working method is a study in precision. He recently completed a major film in just 34 days, a schedule he attributes to meticulous pre-planning and the ability to operate multiple cameras simultaneously. “You refine your game,” he said of aging in the industry, comparing his craft to his former passion for tennis, a sport he has now retired from following two knee replacements.
Beyond the set, the filmmaker has cultivated a unique personal archive at his vineyard in the South of France. The property’s vast, climate-controlled barrel room doubles as a private museum, housing iconic props including an original space suit from Alien and two from Prometheus. He lamented that a prized prop, the Voight-Kampff machine from Blade Runner, was stolen from a set, vowing to reclaim it if it ever surfaces.
His formative years were shaped by an unconventional guidance. Despite poor academic grades, his father, a military man, encouraged him to pursue art school. It was there he began his career in design, once sharing an office with the designer of the Daleks for Doctor Who. He recalled telling his colleague the now-iconic villains looked “fucking terrible,” a design opinion he stands by despite their enduring popularity.
The director maintains a famously blunt and profane demeanor in interviews, though he claims his language was even saltier in his fifties. He has long since stopped reading film criticism, a decision cemented after a scathing four-page review from a prominent critic decades ago. He framed the article and keeps it in his office as a personal memento.
Looking forward, he confirmed a new Gladiator project is in active development and remains open to another Alien prequel should the right idea emerge. For now, his ambition is simpler: to break even on his French vineyard, a venture he doesn’t recommend in an era where, as he wryly observed, “No one fucking drinks any more.”
