Quotes of All Topics . Occasions . Authors
When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.
I was a big fan of John Cassavetes, his wife, Gena Rowlands, and that era of filmmaking which was about realism and which represented the antithesis of the dreamy escapism you found in musicals.
Painters who do self-portraits are engaging in a form of narcissism. But it doesn't work like that in movies. A truly narcissistic person wouldn't go into filmmaking because it's just too tiring.
There is certainly a part of my filmmaking that harkens to a more simpler commercial kind of taste, but then with this there's certainly a kind of avant-garde, abstract, existential element to it.
Here's the thing that people don't understand: I don't really care. I've never been a careerist. It's not a strategy. I react to certain characters and story lines and specific mode of filmmaking.
I love music. I love filmmaking. I love law enforcement. I love doing a lot of the green work that I do, the charity work that I do, and I don't think that any one person has to be just one thing.
The nature of filmmaking is that there are so many people involved in it, so many fingers in the pie, that part of the talent of a director is to try and get your personality through in the movie.
I've learned more, and I understand the process a bit better now. I can try to see how long I want to take in each aspect of the filmmaking process, and then arrive at around the two-year end mark.
Great stories and acting always win the day. If the story behind the scares is dramatic and the filmmaking is great, it works. If those things aren't great and the scares are secondary, it doesn't.
I wasn't a kid who moved out from Iowa with aspirations of becoming a famous star - I was intrigued by the idea of filmmaking and by the idea of what it would be like to play a character in a movie.
Daniel Craig is brilliant as Bond: there is no question about that. But it's a different Bond. It's the cross pollination of 'The Bourne Identity' and 'James Bond;' that kind of style of filmmaking.
If your financiers care about the movie, they will be involved in a very constructive fashion, but it can get out of hand very quickly, and that is something to be aware of in any type of filmmaking.
India uses Bollywood, rather cinema, to tell its stories. It is one of the largest filmmaking nations in the world and so your talents get to tell stories about politics, love and drama through films.
I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.
Film is the most liberal of arts and, at the same time, it can be a very conservative art. Money that is involved in filmmaking is distributed mostly to men, thus creating a celluloid ceiling for women.
I think it's time British filmmakers stopped allowing themselves to be colonized so ruthlessly by U.S. ideas and stopped looking so slavishly to the U.S. market. It demeans filmmaking when they do that.
The real kudos need to go to my family, who have supported my crazy filmmaking dreams - from Melbourne, to L.A., England and the wider world - by supporting my projects and passions over the past years.
My work on titles was a marvelous opportunity to learn about filmmaking. I think I touched on just about every aspect of the process, both creative and technical. And I worked with many wonderful people.
We need storytelling from all angles. We need men, women, and trans people participating in all aspects of filmmaking; this is the only way we can depolarise the age-old standard of singular perspective.
In lower budget filmmaking, everything is a favor. You're pushing everybody, all the time. You're trying to get the best out of it that you can, and it has to be a labor of love, or you can't get it done.
There's a method to the madness in filmmaking, where everything's very specifically laid out, the shots and what they need - but there also can be a freedom to allowing the actors to find genuine moments.
I take particular care in authenticity and specificity when working in cultures not my own. Every aspect of the filmmaking here was meticulously researched, and not just by me but across every department.
There are lots of parts of filmmaking that I don't like. At the end of the day, especially on features, the film turns into a commodity. You have to play this entirely new game I'm very uncomfortable with.
I got a sneak peek into the functioning of the film industries of the south through Telugu cinema. This industry has helped me understand how to adapt to various styles of filmmaking. It's been liberating.
Every technology that comes into filmmaking is first a gimmick. Think about sound with 'The Jazz Singer' or the first colour or surround sound - it takes a while for filmmakers to understand how to use it.
I think that directing is the ultimate martyred task of filmmaking, that it has nobility to it. It takes three years to make a film, for the most part. I think it requires the attentiveness of a mother hen.
I think that narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verite is film in its purest form.
I used to act in plays when I was in school and college, but you cannot say that I was passionate about acting. I was only interested in being a part of the group, and the group was passionate about filmmaking.
When I got to filmmaking, the most democratic of environments where anybody could say anything, those were the best environments, but what you don't want to assume is that you know what the audience is thinking.
In 3-D filmmaking, I can take images and manipulate them infinitely, as opposed to taking still photographs and laying them one after the other. I move things in all directions. It's such a liberating experience.
Filmmaking these days is so technically advanced. When I started off, we had to wait for two to three months to see the rushes. But now you can see every scene on the monitor and you can see your work immediately.
I love the way the long scenes feel - one of the characteristics of '70s filmmaking is that you don't cut around a lot; you let things play out. I did that on 'Samurai Jack,' and it carried over into 'Clone Wars.'
I think filmmaking is a strange animal because it's anti-Democratic and collective at the same time, but I think it's all about not trying to know everything better than everybody else but making the right choices.
If women choose guerilla style filmmaking or new media productions, etc., all power to them. But if they're there because 'Big Hollywood' won't let them in, then we're moving further and further away from equality.
I started doing my own animated movies when I was in ninth grade; that's when I got the filmmaking bug. When I was about 16, I started writing jokes for doing stand up, and then I was 19 and started doing stand up.
A good working relationship between an actor and the director is very important. It takes a while to build a comfort zone because filmmaking is a long process so it is important to connect with people you work with.
I see myself as a perennial expatriate because, frankly, I don't think I fit comfortably in any conventional form of filmmaking, and I feel at the same time, depending on the project, I fit into many different ones.
For John Woo, it is quite difficult to make a movie in Hollywood in his own style. Because Hollywood is based on a producer system, it is difficult for a director to express himself using his own style of filmmaking.
I started filmmaking when I started surfing, so the two things have been with me since I was 12 years old, so it's sort of been in my bones to make surf movies. I guess every now and then I just crave to do it again.
You can be technically strong, and focus all your efforts on elements like casting, music, cinematography and sets, but they are all just add ons. End of the day, filmmaking is really about how well you tell a story.
But I would say maybe just from an actress's perspective, probably 'Woman Under the Influence' is the best movie of all time. The style of filmmaking and the performances... you don't feel like you're watching a film.
There is a lot of interest in the arts, music, theatre, filmmaking, engineering, architecture and software design. I think we have now transitioned the modern-day version of the entrepreneur into the creative economy.
We've always had a roadmap to feature filmmaking, and making a feature film could have been three or four years away for us. But crowdfunding helped us get there in a year, and it allowed us to take a much bigger step.
I started out doing music videos and photography, and I always loved writing. Filmmaking seemed to be a good compilation of all these skills in a way that allowed me to tell a story 'greater than the sum of its parts.'
We took a very interesting journey from being really extreme art house filmmakers. But we find that working in commercial filmmaking and creating a brand on that high level affords us a lot of interesting opportunities.
We live in a very masculine society, a very patriarchal society, still. So we also have the benefit of the experience of that society. We're not coming from 'women's world' into filmmaking, we're coming from 'the world.'
My roommate at Yale University introduced me to the auteur theory of filmmaking. I soon became a big fan of the works of John Ford, Kenji Mizoguchi, Ernst Lubitsch, and Stan Brakhage. I then decided to make my own films!
Hrithik is a great help to me while I compose the music for our films. He gives his inputs to us. He sits with me and learns a lot about music too. He is very fond of learning and very involved in the filmmaking process.
A government institution called the Finnish Film Foundation funds filmmaking there, and I wrote several screenplays but never got any money. They were sent back to me, and they said that they were too commercial for them.
It's self-destructive to become confident regarding your own acting. Acting, your entire career depends on a lot of things. What kind of writing is working, the kind of filmmaking which is prevalent, all these factors in.