Quotes of All Topics . Occasions . Authors
One of the great things going on in Chicago is the educational facilities here. And the largest film school in the world is right here in Chicago: Columbia College.
There's a great deal of women in film school. I was not the only woman in my class at UCLA. When I went through the Sundance program, it was half women and half men.
You graduate from film school and move to Hollywood. Hollywood tells you, 'We're not the place for you to make films,' so you decide you have to make a film yourself.
You can do all the film school you want in classrooms, but if you are on the set, you are going to learn so much more because you are really in the middle of doing it.
When I started this profession, I wanted to make films that entertain but that have content. When I went to film school, they made me believe that the two could not mix.
I went to Princeton to major in comparative literature. I never went to film school, but I studied storytelling across mediums - poems, literature, film, and journalism.
After I did 'Orchids,' I enrolled back in film school and did a million and a half workshops and worked with great professors and people, trying to hopefully get better.
I left Norway after high school and moved to Manhattan and went to film school in Manhattan. That's when I really found out that this was my calling and what I wanted to do.
I went to the University of Toronto to study the history and theory of film, in the back of my mind thinking I'd go to NYU film school and see if I could make a career of it.
I loved the idea of Spider-Man as a kid, and I loved the Todd MacFarlane run in the 1990s, and the first Raimi movies were released when I was in film school. Those were big.
We were studying at Newport Film School, and I found that the only way for me to make films - because you need people and you need equipment - was that I had to be a student.
I always wanted to be a feature filmmaker and tried to treat that experience as some sort of elite film school where I could learn the craft, and got paid to learn the craft.
When I met David Green at film school he always used to offer free haircuts - he was kind of an artisan. In a lot of our films, he's constantly trying to give me weird looks.
When I entered the film school at the Prague Academy in the '50s, it was the hardest time in the Communist countries. The ideological control of the society was almost absolute.
I was never interested in being powerful or famous. But once I got to film school and learned about movies, I just fell in love with it. I didn't care what kind of movies I made.
I feel like a lot of my past career was going to film school, making a lot of different kinds of movies. I made a bunch of comedies, I made one drama and I made a couple musicals.
I went to film school at Columbia and did that for a couple years, and really thought I was going to be a filmmaker, and then I kind of drifted over to the acting side after that.
I went to film school at UT Austin. I learned a lot, and that school's good for puking up all your bad movies early and quick. But ultimately, no one can teach you to be an artist.
Film school didn't prepare me for the fact that you have to manage so many different personalities at every stage, and I learned nothing about what to do when a movie was finished.
In film, I don't think I'd try directing. Maybe one day, but I'd certainly want to go to film school or something before I tried to do something like that. That would be quite scary.
Well, I think every film student goes into film school thinking they want to write and direct their own movies, and they don't realize how much goes into it, and what a process it is.
There are so many young women in film school right now, and it's just about foreign sales companies, domestic sales companies agreeing to finance films directed by and starring women.
It's been a twisty-turny path for me. I was studying to be a history professor, and then I left that, went to film school, and tried to be like my heroes, like, Spike Lee and Hal Hartly.
While still a young student at film school, I was lucky enough to get a golden ticket to a Martin Scorsese master class at BAFTA in Piccadilly: fancy, but technically still 'the flicks'.
I always wanted to be a filmmaker and became one through sheer single-mindedness. I came to filmmaking from a background in graphic design. I went to film school at Newcastle Polytechnic.
All the lessons you learn in film school from the people you hate are always the ones that are important. The lessons you think are great and thankful for never end up meaning anything to you.
When I graduated from high school, I thought I wanted to make science fiction movies, so I applied to film school, but I couldn't get in. A professor told me I should try architecture instead.
I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'
After film school, I embarked on trying to promote independent films. But after a while, I realized I was breaking my back doing six-day-a-week shoots, 14-hour days, and no guarantee of distribution.
At the time I left film school there wasn't a lot of hope for young film-makers. It was a calling card of film school to be quite slick and commercial, which might lead to getting some stuff on telly.
I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.
I'm starting at USC's film school for directing this month. I'll try to get a semester in at a time. I'll have to take time off for work throughout school, but it will be nice to get through a little bit.
It was the beginning of film for television. So we had all of these great opportunities. Northwestern was probably the only major film school of its kind at the time that was graduating anybody important.
I always loved films, and when I decided to go to film school, it was with the excuse that I would go into making commercials, because that would be a proper profession, and people wouldn't think I was crazy.
'Beyond the Lights' was my fourth film. I gained a lot of knowledge, and I'm excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of 'What's next?'
I did go to a film school in Sarajevo. I studied film and theatre directing. There was a war raging in the country while I was studying, and we did not have neither electricity nor cinemas for three and a half years.
I took an internship at Focus Features while I was in film school. I was really interested in how specialty movies were marketed and found their audience despite being about topics that were outside of the mainstream.
I went to film school, so I certainly know how to make things quickly and cheaply. But at the same time, I have the experience of working with Steve Starkey for three years. I watched him produce some gigantic movies.
I wanted to stay in New York to pursue acting, but my dad urged me to get a four-year degree. Reading about the film school at Florida State University, he suggested I go there. I received my bachelor's degree in 2003.
I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.
I think I could probably make $5 to $10m movies for a very long time and live a perfectly good life doing it. I'd probably get paid as well as a surgeon, which is pretty damn remarkable for a guy who went to film school.
I never did theater. I was a theater major at USC my first year because I didn't get into the film school. I was biding my time, hoping to be accepted to film school, and I ended up transferring to UCLA my sophomore year.
I mean I met James Wan at film school. That's where we met. I didn't go to film school to find someone else to work with. I was thinking I would go and learn to direct and go and be a director like everyone else at school.
I sort of jumped out of movies and into the lifeboat of comics. I loved it right away. It was the opposite of film school. Whatever was in my imagination could end up in the finished product. There were just no limitations.
I was at the National Film School and was a cinematographer there. I got quite a lot of experience on documentary film-making and with directors who were interesting - maybe they weren't using scripts or were using non-actors.
I remember when I was in film school. It was my second year, and some kid did - had this really over-religious symbolism; like, it said 'John 3:16' and had angels falling over, and it was just this insane - it wasn't that great.
Going to film school just made me love it. Before film school, I didn't really think much of acting. I was more into making music, but going to school and learning about it every day, it made me grow profound respect for the art.
I got in trouble in film school at USC because one of my Super-8 movies there, in the first semester, involved a snowmobile chase scene. I made an action scene, and they were like, 'That wasn't what you were supposed to be doing.'
I was fortunate to write pretty much a year out of film school and start making movies in the Hollywood studio system. But with each progressive film it became more frustrating not being able to speak and say things I wanted to say.
In 1983, I was working at an art gallery in Los Angeles and going to film school at Los Angeles City College. At that time, Jean-Michel Basquiat was a young painter and was visiting L.A. for his first show at the Larry Gagosian Gallery.