Top 22 Baltasar Kormakur Quotes

The winters are too long, and there’s only one airline, so it’s difficult to escape when you feel frustrated or claustrophobic. The audience for our films isn’t very large, so it’s difficult to support an industry. But, Iceland is beautiful. Sometimes it’s hard to imagine living anywhere else.

We will work on ways to digitally enhance Everest, matching it with Dolomites and Everest, but I’ll do everything physically first. If there’s no other way, then I’ll go to CGI.

Throughout the history of Iceland, men have been lost at sea; every family in Iceland is connected to that kind of story.

I am a big fan of movies that don’t take themselves too seriously. You know you won’t change the world, but have fun. Movies like ‘Butch Cassidy’ I enjoyed tremendously, but it didn’t alter my opinion of the world.

With a huge storm, you need a lot of volume, but it can’t become one loud noise. Dolby Atmos helped a lot because it gave us the separation of those elements.

When I made ‘101 Reykjavik,’ people talked about ‘Almodovar on ice.’ When I made ‘The Sea,’ people referenced Bergman.

I consider myself more a European director who is from Iceland than an Icelandic director.

When ‘Iron Man’ came out, I said, ‘Oh – they are trying to have some fun.’ It was a relief because every superhero movie had become so damn serious. Some people love that, but for me, it’s a weird thing to watch. A man with a cape can have fun, but I won’t listen to a lecture from him.

It’s important for cinema to keep on evolving: for people, and not only teenagers, to be able to go to a movie that has huge epic scope but has an intellectual and real story to tell.

When I write and develop things myself, I might work for a while on a script from a book, and then I go back and read the book and go back into it to see if I lost something: is there something there?

I developed ‘Trapped’ because I was fascinated with the idea of a terrible crime in a small town cut off from the rest of the world.

Vikings were pretty brutal, but also very educated people. They were salesmen, businessmen who started raiding when business wasn’t good. That’s why they had such great boats.

The thing about Iceland is that we are trapped there anyway, all of us. We have been trapped there for thousands of years.

If you make a film too American, it won’t travel. It will have no life outside of its own country.

I’ve always looked at filmmaking as a lifestyle. There is no decision of when you go to work. It’s a way of life: you’re thinking about scripts; you see things and think, ‘That could be interesting’… I don’t think about my work as, ‘Today I’ll work on this, this and that.’ It just comes to me.

For me, the source material can come from anywhere. It can be a poem, it can be a dream, it can be a movie, as long as the end part of it is interesting – that’s what it’s about for me.

In the case of ‘The Deep,’ because of the people involved, the talent and the real lives of people who died, I wanted to make the most honest film I could. And sometimes that’s the best way to go: Just make the best version of the film you can.

I used to sail a lot in all kinds of weather, competing on small sailboats in the ocean. And I travel a lot in Iceland on horses every summer, through the wild areas where there’s no inhabitants and there are volcanoes.

In Iceland, the weather is the biggest character you deal with every day. There’s nothing more relevant in your life than what kind of weather it is.

Real acting is about giving people an insight into a person, letting the audience in.

Sometimes those big bloated superhero movies take themselves too seriously compared to the material they were based on. Am I going to listen to psychoanalysis from someone with a mask?

I started as an actor, then became a theater director. I loved acting but didn’t feel as confident as I needed to be, so I started directing theater; then I played in some movies, and then I felt the need to do my own stuff.