Quotes of All Topics . Occasions . Authors
Usually a lot of moviemaking is boring.
There's so much standing around and waiting with moviemaking!
I can see how a person could get addicted to the adrenaline of moviemaking.
If you think you're going to be up for an Oscar, you schedule your moviemaking.
The thing that I love about moviemaking is how many people it takes to make it.
In Hollywood, moviemaking used to be about escaping reality to go to the movies.
My grandpa told me, 'Learn to love anxiety, because it never goes away in moviemaking.'
Moviemaking is about telling a story. And you need to know what story you are going to tell.
Hollywood executives believe that money is both the be-all and end-all to the moviemaking process.
On the whole, the politics of moviemaking is something that actors are kind of blissfully ignorant of.
I think it's always good for the author to stay a good cattle prod's distance from the actual moviemaking.
I think American cinema, particularly, has become so disposable. It's not even cinema, It's just moviemaking.
A lot of people who watch DVDs are people who are interested in, if not moviemaking, then creativity in general.
Moviemaking is a dirty, tiring affair. The joy comes from the possibility to be free on set and really let loose.
If I were a young man today, I might be lured into the moviemaking industry. You can really make a statement there.
Amazon may be the only studio that's run by people who come out of making independent movies, real hands-on moviemaking.
Building a house is a lot like moviemaking. The attention to detail, the sense that you're doing something that has longevity.
I have an issue with the commercial aspect of moviemaking: I don't see why a movie can't make a lot of money and also be good.
When I cast someone in a movie, I have to absolutely trust who they are as a human being. Trust is the intangible of moviemaking.
Before I discovered moviemaking, I hadn't found anything where I could kind of galvanize or meld all of the things that I wanted to do.
But, you always have to listen to everyone, because I'm not always right and other people have great ideas, too. I think that makes great moviemaking.
You work in a band, and it tends to be more like moviemaking, I think. It tends to be more of a conscious, verbalized and, to some degree, political process.
It goes back to a style of moviemaking I remember seeing as a child, in movies like The Man With The Golden Arm, which I think was shot all on a sound stage.
Technically, maybe I learned most of all from George Stevens, and among his movies I learned the most from 'A Place in the Sun.' It's a lesson in moviemaking.
The accomplishment that I am most proud of is that 'Free Willy' and 'Dave' got a political message out, which isn't easy to do within the constraints of studio moviemaking.
Moviemaking is a time machine: narrative spliced into fragments and reassembled into a constant present, the end of a story shot before the beginning, which is shot after the middle.
I hope to be remembered for mentoring the future generation of stuntmen and fighting for the rights and respect that stuntmen and stuntwomen deserve for their contribution to the world of moviemaking.
I think there's escapist moviemaking, and we want to be captivated and taken away. If it's done right, you can craft an incredible film. There have been superhero films that I think are brilliant pieces of art.
I've been writing plays since the seventies and only came to moviemaking when I basically realized that I needed some money to pay the rent. I started to watch films with an eye to figuring out how to write them.
As a younger actor, I had delusions. I would dream of Scorsese and De Niro; I would meet people, and it would be like this, and it would change moviemaking in France, and Paris would become the center of the world.
You have to live in order to have something to write about - you get caught up in moviemaking and celebrities and money, and it's very intoxicating, but it doesn't give you what you need as a writer. You have to do something else for that.
One result of moviemaking - and a side effect of moviegoing - is familiarity. If an actor is particularly good, familiarity opens into something deeper: care, concern, identification, empathy. Yet even those concepts can feel inadequate for some actors.
It's like trying to be a traffic cop and write a poem at the same time. You need an executive head to handle all the vast paraphernalia of moviemaking. You need another, more sensitive head to get the delicate human emotional values you are trying to put on film.
Moviemaking is just really neat, and I really like doing that. I'd like to get into it more, but in terms of my role in all of this and in terms of the gift that God has given me, I had to come to the conclusion that my strength is as a storyteller, creating the story.
I do not want to admit to the world that I can be a bad person. It is just that I don't want anyone to have false expectations. Moviemaking is a harsh, volatile business, and unless you can be ruthless, too, there's a good chance that you are going to disappear off the scene pretty quickly.
If you go to business school, and you put a product out there in the world, and it's working, the logic is to keep putting the same product out there. And I think that really bumps up against the creative process - and moviemaking, generally. And I think that our company really pushes against that.
I grew up loving watching movies, and at a certain point, I started to become fascinated with making movies. Then I went to film school, and I got to dabble with different aspects of moviemaking, and I ended up settling heavily into editing - editing was what I was really adept at, had a passion for.
With moviemaking, the audience always has to keep asking, 'What happens next?' If you have the wrong piece of music over a scene, people aren't going to get the scene. If you have the wrong camera angle, people aren't going to pay attention. That's as much a part of the process as getting people to talk to you.
I never make a movie for awards consideration. I will use the hope of getting an Academy Award a) to honor the people who work so hard and also b) it's the greatest Good Housekeeping seal in the world. It's the greatest brand. It's as good as Louis Vuitton and Dior in the world of moviemaking. It's the Super Bowl.
When you're adapting, you are working on someone else's problem that they have already solved. The work has been fine-tuned and read countless times, and you're just arriving at the end and taking what you want, so of course it is the regal way to moviemaking. Plays are just the ideal scripts - the structure is there and waiting for you.