[I think] the movie is not a thing which is taken by the camera; the movie is the reality of the movie moving from reality to the camera.

What I try to do is write from the inside out. I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I’m watching onscreen. Sometimes, that means I’m discovering things the way the audience will, with character and story. Other times, you’re plotting it out with diagrams and taking a very objective view. Writing, for me, is a combination of both. You take an objective approach at times to get you through things, and you take a subjective approach at other times, and that allows you to find an emotional experience for the audience.

[W]hen the objective gaze is turned on human beings and other experiencing creatures, who are undeniably parts of the world, it can reveal only what they are like in themselves. And if the way things are for these subjects is not part of the way things are in themselves, an objective account, whatever it shows, will omit something. So reality is not just objective reality, and the pursuit of objectivity is not an equally effective method of reaching the truth about everything.

The film is about what happens when real people do ghastly things to each other, and sure, it shows those things because that's the tone of the film — fairly realistic.

Using “realistic style” does not mean that we have to change and make a documentary film. It remains fiction. When I make movies, it is subjective, my own interpretation of the novel, my way of organizing the movie scenes. The director’s reflection is not objective, because we are expressing our own point of view, and from the angle of what interests us.

A bird's-eye view does not see the truth.

In many of the films now being made, there is very little cinema: they are mostly what I call 'photographs of people talking.' When we tell a story in cinema we should resort to dialogue only when it's impossible to do otherwise. I always try to tell a story in the cinematic way, through a succession of shots and bits of film in between.

And yet there is no sign of humans in this picture, not our reworking of the Earth’s surface, not our machines, not ourselves: We are too small and our statecraft is too feeble to be seen by a spacecraft between the Earth and the Moon. From this vantage point, our obsession with nationalism is nowhere in evidence. The Apollo pictures of the whole Earth conveyed to multitudes something well known to astronomers: On the scale of worlds — to say nothing of stars or galaxies — humans are inconsequential, a thin film of life on an obscure and solitary lump of rock and metal.

“We do not see the world. We watch internal movies about the world."

A glimpse into the world proves that horror is nothing other than reality

We’re aware of the scale of the planet, so we don’t accept that our own circumscribed horizons constitute reality. Much more real is what’s relayed to us by the TV.

To see life steadily, and see it whole, as a creature of the deep sees it, from below. Our myths are so many, our vision so dim, our self-deception so deep and our smugness so gross that scarcely any way now remains of reporting the American Century except from behind the billboards.

The intention of not only the screenwriter, but also the entire production staff, was to focus on how people would react if a creature such as Godzilla really did appear. What would the politicians do? How about the scientists? How would the military handle the situation? Given this, it was inevitable that the film would seem at least somewhat like a documentary.

Phenomena unfold on their own appropriate scales of space and time and may be invisible in our myopic world of dimensions assessed by comparison with human height and times metered by human lifespans. So much of accumulating importance at earthly scales […] is invisible by the measuring rod of a human life. So much that matters to particles in the microscopic world of molecules […] either averages out to stability at our scale or simply stands below our limits of perception.