Neill Blomkamp's biography

Neill Blomkamp is 43 years old film director born at Johannesburg. Neill was born on Monday 17th of September 1979. He is often nicknamed as Neill Blomkamp. According to year of birth 1979 Neill belongs to Generation X. Birthday on 17th of September means Neill is Virgo. Virgo is an earthy sign of Zodiac Belt. People born under this Rising Sign are practical in nature. They believe in reality and represents themselves as a strong person.

Neill is white south african. Neill is citizen of South Africa. His primary profession is to be film director. You can know him also as screenwriter. Neill is recently known as animator.

Neill Blomkamp's family

Neill Blomkamp's ex spouse

Terri Tatchell

Neill Blomkamp and Terri Tatchell have been together. She is known as screenwriter. Neill´s ex spouse was born on Sunday 1st of January 1978 in Canada.

Neill Blomkamp's schools

We found 1 school He attended. Name of the school: Vancouver Film School.

Detailed informations about his schools

Graduated from Vancouver Film School's 3D Animation and Visual Effects program in 1998.

Neill Blomkamp's career

Neill´s main focus is to be film director. Neill is famous thanks to His short film Halo: Combat, the second of three installments, won the Cannes Lions 2008 – Film Lions Grand Prix..

Awards and competitions

Neill Blomkamp's Awards

Winner of the 2003 Leo Award for Best Direction of a Music Video for "Tango Shoes" by Bif Naked.

Neill Blomkamp's Nominations

He was nominated for Academy Award for Best Writing, Adapted Screenplay

Neill Blomkamp's quotes

Johannesburg is weird, because half of it is like Los Angeles. It feels like just wealthy parts of L.A. But half of it is severe slummy, something like Rio De Janiero or something. So it's kind of weird, because it's both happening at the same time.
A lot of parts of L.A. are interchangeable with suburbs in Joburg. Very big, ostentatious houses with palm trees and lawns. Lawns are very important. Never underestimate lawns.
Chappie (2015) would be like RoboCop (1987) but hilarious. If you mixed "Robocop" with E.T. the Extra-Terrestrial (1982) and it was... funny, that's what it is.
A lot of America is kind of done. People have been making films about it for 100 years. Everything to me feels used up. But Jo-Burg feels unbelievably inspirational to me.
If I wanted to make something that actually made a difference roughly in this industry, I would make a documentary. That would be the closest I could come to actually try and make a difference.
I have zero strategy for my career - like, zero. I could get as much satisfaction about doing a $20,000 shot film the same way I could do a $100 million film with a bunch of effects.
Satire also allows you to make fun of every different aspect. It allows you to make fun of both sides. It allows you to make fun of everything, really, so you can do it in a harmless way.
I actually think Johannesburg represents the future. My version of what I think the world is going to become looks like Johannesburg.
If something is as smart as you, do you treat it differently if it isn't a human?
I think our problems are inherently unsolvable. We need to change our genetic make-up or create computers that will think us out of it. I don't think humans are able to deal with what we have.
I like where we're going with technology and global integration, but the fact that corporations and dollars rule everything in our lives, I don't like it. This isn't the Hollywood I wanted to be part of.
I think that in the realm of commercial, popcorn cinema, the amount of message or smuggling of ideas you can get in there is quite limited. Like, if you think you're going to make a difference or change anything, you're on pretty dangerous thin ice.
High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script.
I think that people who make films and think they're changing the world are sorely mistaken. If that really is your goal, there are far better ways to do it. I'm making politically observant films for audiences.
I just want to make films that have enough of a budget to pull off high-level imagery but also have a budget that is low enough that I can do what I want.
If you don't have something that glues the audience to the screen, you're in trouble.
I never really think of something in terms of what not to do. It's always what's appealing or what's cool.
I think the world of District 9 (2009) has a lot of race and oppression-based ideas that I would still like to explore in that world.
I don't want egos and personalities on the set that make it more difficult to make the film. I don't want people who take the focus away from the movie and the ideas behind the movie.
I think that Elysium (2013) the movie is unrealistic, with the space station and everything. I think "Elysium" the metaphor is completely realistic: it's exactly where we're going.
I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.
I want to make a film that is commercially successful because that means that the larger cinema-going audience around the world like the movie, which is my goal. That's my job, to make films that people respond to.
I think that, if there are topics that are just on people's minds, things manifest into reality out of the sort of global consciousness of being aware of those topics.
I think there's a lot of crazy stuff on the Internet. You read stuff that is wild speculation, and there's an element of it that makes me not trust it because there's this undercurrent of insanity to it sometimes.
If you look at the most meaningful science fiction, it didn't come from watching other films. We seem to be in a place now where filmmakers make films based on other films because that's where the stimuli and influence comes from.
If you just compare South Africans to the rest of the world, I think that white South Africans, and especially English-speaking white South Africans, are exactly the same as Brits or Australians or New Zealanders or Canadians or Americans.
If there isn't a deep core reason for a film existing, what is the point? For me to be known as a filmmaker that makes films that have a point, I'm stoked.
If you're not observing the world around you, in some sense you're not really an artist because then that means you're just replicating other people's stuff, or, I don't even know what you're doing.
The main stuff I like is from the late '60s to the early '90s. That's the stuff I love. It's the 'James Cameron''s and the Paul Verhoeven stuff. I guess when I was younger, Star Wars (1977) had an influence.
The only genre of movie that I could see making that doesn't have anything magical or otherworldly about it would be a war film. I'm very interested in history, and a war film could be something that would lure me in.
On one hand, I think people are destined for something incredible if we don't wipe ourselves out, but I think we're going to wipe 90 percent of ourselves out.
There is something fundamentally fascinating about the mechanics, I guess, of the human body and where consciousness and mind exist, and what you can do with the mechanics of the body while keeping those intact, and where those two cross over.
[on using motion capture in Chappie (2015)] Think of the animation like really, really expensive makeup. The actor drives the performance: they are completely and utterly captured in the process of rotomation.[2015]
[on Los Angeles] Joburg Light [2013]
[on Johannesburg] It has this thermonuclear-weapons feel, like it's going to go off at any point.[2013]
See also Other Works |Â Publicity Listings |Â Official Sites

Neill Blomkamp's height, body shape, eye color

Lets describe how Neill Blomkamp looks. We will focus on Neill´s height, body shape, eye color and hair color. He is tall as 5' 11" (180 cm). Body build is average. His eyes are tinted brown - dark. Neill´s hair is shade of brown - dark.

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Neill Blomkamp