Quotes of All Topics . Occasions . Authors
I am a filmmaker. That is all I've ever been. You know, Martin Scorsese makes films about the mob. And I make movies about food.
Read, read, read, read, read, read, read, read, read, read, read, read, read...if you don't read, you will never be a filmmaker.
My films are personal-voice-driven films about human characters and the place we live. Technically, I'm an independent filmmaker.
I don't think that any Icelandic filmmaker feels like he belongs to Icelandic filmmaking, because nobody really knows what it is.
My favorite filmmaker is Frank Capra. He talked about the redemption of the human spirit - not the superhero, but the common man.
If you know the filmmaker is good and the leading actor is a movie star like Diane Lane, you know you're part of something great.
Whenever a really passionate, talented filmmaker seems to have an interest in me, I take it very seriously because I like to work.
No matter how many films a filmmaker makes, there would be very few films that are truly great, where he has got everything right.
I can always tell when a filmmaker doesn't care about his or her characters; they just care about setting them up to kill them off.
I have major credibility as a hip, out-there documentary filmmaker, and I'm not going to say, 'I'm only a drama filmmaker' anymore.
A filmmaker doesn't have to suffer to show suffering. You just have to understand it. You don't have to die to shoot a death scene.
The whole thing of working in collaboration with filmmakers is the thing that I love the most, and possibly the thing I do the best.
You need pencil miles to be a great artist, animator, or filmmaker, and the sooner you start making mistakes, the quicker you learn.
I want 'Like Brothers' to answer young kids who ask, 'How could I possibly become a filmmaker?' This book will step that out for you.
You would assume that a filmmaker should know how to edit, but pretty much every filmmaker I've worked with doesn't know how to edit.
I've always been a fiction filmmaker and I've been heading in the direction of fiction filmmaking, doing documentaries along the way.
I became a filmmaker because I wanted to deal with issues that intrigued me, that I thought were pertinent, that would start dialogue.
As filmmakers, we're constantly always looking for something to bring the audience deeper into the reality of the story we're telling.
As a poet and writer in general I feel very grateful that I can just make a chapbook and that we don't have the expenses of filmmakers.
As a filmmaker, I've had films that over-achieved and I've had films that under-achieved. You always go in trying to do your very best.
Well, if you ask any filmmaker how they got into it, everyone came a different route. Ive never actually watched another director work.
The 1988 biopic of bebop immortal Charlie Parker, 'Bird,' was the film that opened my eyes to Clint Eastwood's potential as a filmmaker.
Filmmaking is a language where you empathise with human situations. Unless you have empathy for characters, you shouldn't be a filmmaker.
This is what I always tell my filmmakers-you have to do tons of research, because you don't know where the inspiration is going come from.
The digital revolution has had a democratizing effect. Now anyone can be a filmmaker, but to be a good filmmaker is as hard as it ever was.
Louis Malle was the best filmmaker I've ever worked with. He was such an artist. He was dealing with the theme of innocence and experience.
You can start making films as a child. It's become easier to find your groove as a filmmaker, and I'm extremely interested in those voices.
The director Steve McQueen has found a way to constantly include the element of surprise in his work, both as an artist and as a filmmaker.
I want to go make an original movie. It's all very personal, but I want to define myself a little bit more as a filmmaker and hone my craft.
I only work every five years. It's exhausting. I've got a family, and I want to be a really good parent, as well as a hopefully good filmmaker.
As I get more confident as a filmmaker, I don't need to prepare so much in advance. I can trust that I and my team can come up with a solution.
I'm very tired, but this is what every filmmaker dreams about: that their $15 million, under-the-radar film is now being seen by so many people.
In most films music is brought in at the end, after the picture is more or less locked, to amplify the emotions the filmmaker wants you to feel.
There are so many filmmakers who are so talented, and actors and writers who work so hard, and it's really hard to let your work enter the world.
With 'Mask,' 'Smooth Talk' and 'Blue Velvet,' I loved the specific experiences so much. Each one was a specific filmmaker with a specific vision.
I think it's important as a filmmaker, as any person working in the arts, that you've got to try new stuff and challenge yourself and take chances.
I'm not going to be labeled a black filmmaker. I am not here to just tell black stories. I'm here to tell all kinds of stories, musicals and dramas.
Whenever you make a movie, when it's done, as a filmmaker, you never sit there and say, 'Boy, I really got that right.' It's, 'Where did I screw up?'
Cinema is an art form that is designed to go across borders. And as a filmmaker, the only way I can direct a movie is when I feel close to my culture.
One of the things you do as a writer and as a filmmaker is grasp for resonant symbols and imagery without necessarily fully understanding it yourself.
With docs, there's often a very direct communication between the filmmaker and the audience. With narrative movies, we leave it a little bit more open.
Robert Zemeckis is a genius filmmaker who is an amazing individual. I feel really blessed that I've gotten to work with him on many different occasions.
Every filmmaker knows that when you make a book into a movie, the first thing you have to do is kill the book, unfortunately. You've got to recreate it.
When you're a filmmaker or a scriptwriter, you face a lot of challenges while making a film. And when you produce it, you have to put in an extra effort.
It's kind of the filmmaker's job to use visual, cinematic language in a way possible to tell a story that reaches and touches as many people as possible.
I already have legitimacy as a filmmaker and now I'm trying to do stuff that's just fun. Until I find a cool tangible subject again that I want to tackle.
Capitalism would have never let me be a filmmaker, living in Flint, Michigan with a high school education. I was going to have to make that happen myself.
I was very committed to the process of composing, working at poems, putting things together and taking them apart like some kind of experimental filmmaker.
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.
I've always felt really lucky to get to work with really great filmmakers. For me, the whole objective is just to hopefully be of service to what they want.