Quotes of All Topics . Occasions . Authors
Part of debunking the mythology of filmmaking is that we tend to want to locate it often in one person. And it's not one person. It's a collective, and it is a collaboration.
Filmmaking in general is my second career. I thought that writing wasn't practical, so I went to business school and got an MBA, and I worked three years in grant management.
Some men don't gel when it comes to work - you have different work ethics, different opinions, different points of views, different methods of filmmaking - and we didn't gel.
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 think that, again, filmmaking is the director's medium in the end, and the best thing a producer can do is stay out of the way and support the director one hundred percent.
I love filmmaking, but I decided to go to drama school because I thought that when I'm 60 and looking back on my life, if acting hadn't been a part of it, I would hate myself.
One day, I woke up, and I was on CBS in front of millions of people, and I'm like, 'Oh man, I don't know anything.' The only thing I'd ever technically studied was filmmaking.
Everything motivates me to do my work. Has anyone seen me in any commercial or in anything that is not related to the films? No, because filmmaking and acting is my only work.
What's great about documentary, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of 'documentary.'
If you think about filmmaking as an entire spectrum, starting with the writer and ending with maybe the marketing department, the actor's contribution is a rather slender band.
Filmmaking is a great adventure. I'm as excited as a kid to be given tickets to fly suddenly to England, South Africa, America, everywhere. I'm still a 13-year-old kid, flying.
It's been a dream to work alongside the talented team at Lucasfilm and ILM to make advancements and improvements to the filmmaking process to help tell stories more efficiently.
People should be good, established people; the filmmaking and acting experience should be heartening. So I chose films where I would get a good experience, not just great roles.
Filmmaking is not a balancing act, although some directors think it is. I don't believe in it. I like ups and downs. They're the best way to translate my feelings to the screen.
I'm a big fan of movies, but I'm a bigger fan of filmmaking itself. I fell in love with it when I was very young, and I have always loved to learn the craft, every aspect of it.
I approach video games the same way I approach theatre, filmmaking, poetry, or painting. I wish more people would take that point of view. It would help the industry to move on.
Filmmaking is a much more collaborative thing than literature, so you know you're going to be working with a group of people at the start. You know it's going to be a compromise.
Great actors like Willem Dafoe and Ellen Page and Samuel L. Jackson will go and do a videogame, because they understand that storytelling isn't just necessarily about filmmaking.
I'm better suited to be a director, I think. I see myself as the general author. I hate the word 'auteur,' because it sounds so solitary when filmmaking is anything but solitary.
I am much more involved in the filmmaking experience on Mag Seven. I'm much more involved in story elements, casting decisions, the writing of the show, the blocking of the scenes.
I prefer the smaller budget versus the bigger budget because the mentality that goes along with big budget filmmaking doesn't really suit me; the mind-set that money is the answer.
I didn't know the technical language of filmmaking, so I said, 'OK, I'm going to do my own storyboard,' because I had to explain to the crew and the technical people what I wanted.
Filmmaking creates a sort of - trust, maybe. It has led me to a group of people I feel good with. We have something in common because of film, when otherwise we might have nothing.
I'd like to see a day when we're less obsessed with stars and give due credit to everyone who is involved in the process of filmmaking and a change in the obsession with fair skin.
A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.
I have no schooling in any normal sense but have learned from the best as far as just doing things. I learned filmmaking from loving movies and then just saying, 'OK, let's do it.'
Filmmaking requires the participation and cooperation of many people. It's unrealistic to expect that you're not going to be challenged by unforeseeable forces from every direction.
The crazy thing about independent filmmaking is that you're so judged on your first film. It almost needs to be one of those groundbreaking 'I've-never-seen-that-before'-type movies.
I realized that filmmaking is an eminently scalable act. No matter how big or how small, there's joys and stresses that will all scale themselves magnificently to fit the production.
The great thing about 'Fargo' is that it's a more objective style of filmmaking: the camera moves in very classical ways, and the most interesting things normally are the characters.
What's great about documentary genre, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of "documentary."
It's so difficult to actually come up with ideas that you really fall in love with, you know? That's the most difficult thing about filmmaking - and that's my main challenge in life.
What I want to do with my filmmaking is help kids experience the truth and wisdom of nature no matter where they are, whether or not they have the opportunity to go to a national park.
My best business decision was becoming a writer as well as a director, and learning all aspects of the filmmaking craft. My worst business decision was licensing music that I don't own.
When you are scripting, the scene, the dialogues, everything comes before you, taking final shape. That is truly the most creative aspect of filmmaking and that is what I enjoy the most.
The process of filmmaking is very musical, you get into the rhythm and the rhythmics of how someone is, especially with Woody Allen who is very much into body language and body movement.
I can't make pronouncements about the entirety of Iranian cinema, because there's such a great number of filmmakers and because of the diversity of points of view and filmmaking attitudes.
The biggest thing people tell me is that I'll be jaded real soon and that the allure of filmmaking will lose its magic. Not necessarily the fame, but that special thing you create onscreen.
I found filmmaking to be a very practical art form. It's about figuring out how to create within the very practical limitations/constraints of time, money, and large groups of collaborators.
I love the grandiosity of Hollywood movies, and even in independents, I love the canvas you can tell your story on. I love fiction filmmaking, you really feel like you're creating something.
I don't know if I would call it therapy, but filmmaking is really the only thing I know how to do. For me, making movies is a way to bring on change for myself, and I really enjoy that part.
Rome has New York's formlessness, aimlessness, a kind of hard-boiled sophistication, blase about everything. In their filmmaking, too, the Italians have this tongue-in-cheek sense of comedy.
I studied English in college and approached filmmaking from a writing background while trying to learn as much as I could about the technical side of things by making shorts and a webseries.
When it comes to filmmaking - India or abroad, there are two approaches. First, when the director knows what he's making. Second, where he has an idea and explores that while making the film.
Every stage of filmmaking's important while you're doing it, so I spend most of my time figuring out how to tell the story. I have all these stories and ideas, but it's how to tell the story.
When I say that I am going to do an American film, I didn't want to suddenly go off into a completely different world that which bears no relation to the style of filmmaking that I'm used to.
There's always been this strand of filmmaking in Britain which is like socialist neo-realism. That's always been there. I've never been part of that, really; I've been much closer to fantasy.
You never know what you have until you put it in front of an audience. That's the truth. That's the truth of filmmaking and that's why you make movies, for an audience to, hopefully, enjoy it.
I am my own worst critic, and I look at 'Death Sentence' now, and I go, 'Oh wow, I have really come a long way.' In terms of a filmmaker, I feel like my filmmaking language has really matured.
I've been having a lot of fun exploring different aspects of filmmaking, like writing and producing. There isn't a specific plan and I usually don't know what's going to be the next thing I do.