Top 353 Filmmaking Quotes

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.

In the world of independent filmmaking, you’re never quite sure what’s happening when and where.

I feel that the smallness of the filmmaking environment is somehow connected to the freedom of creating film.

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.

I became passionate about filmmaking. The thrill to make something out of nothing and to go out there to see whether it will work or not attracted me.

Nobody will ever notice that. Filmmaking is not about the tiny details. It’s about the big picture.

I was attracted to filmmaking in college because of my love of storytelling. You can have such an impact and reach a broader audience than conventional journalism.

‘Midnight Cowboy’ is an exquisite piece of filmmaking. It’s insane.

I guess what I enjoy most is directing, because it incorporates all aspects of filmmaking. Directing is in the same line as acting – both are popularity contests, and in both you’re trying to tell a story through the film as a medium.

The whole purpose of filmmaking is to entertain the viewers and when it happens, it gives you a high.

The best horror walks a line that’s completely on a psychological level, not needing the typical tropes of traditional horror filmmaking, then also having to tease out those elements in a way that makes the audience feel like they know what they’re in.

Panned or not, ‘Dune’ is a real part of science-fiction filmmaking.

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.

My favorite thing is to have collectives. Even when it comes to filmmaking as well, filmmaking and music and most art in general, I feel like everyone should have the same say. If you’re in a collective, I feel like everyone should have the same say.

My time in documentaries was very educating, in terms of life experience as well as the filmmaking side of it.

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.

It’s important to show that creativity is in many different sectors, not just in graphic design or filmmaking.

Filmmaking has always involved pairs: a director coupled with a producer, a director alongside an editor… The notion of couples is not foreign to cinema.

I’ve followed Mysskin sir’s work, and I really like his style of filmmaking.

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.

At the end of the day, filmmaking is a business. You want everyone to make money.

Filmmaking is hard enough as it is. If you can find a group you love working with, it makes it just a little bit easier.

At some point during the filmmaking process, you lose objectivity, and you need the eyes of someone who understands the process and has been in the trenches.

There are things to love about filmmaking in Greece. People are generous: If you get along well with others, the people around you will give more than they might otherwise be willing to give, more than they’re supposed to.

I suppose on the filmmaking side, you can learn how to cram a lot into a small space. But I think that advertising, even on what is called the creative side, is incredibly easy if you have that kind of mind. A lot of people regard it as Machiavellian and dangerous, but, in fact, it is morally neutral.

I discovered shooting and filmmaking around the time all of the software became affordable to anyone with a PC.

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.

I learned a lot about filmmaking from my dad. Starting when I was a child, I would listen to my dad as an actor, writer, director and producer talking about films – you know what the treatment would be in the opening, in the middle, and in the ending.

What attracts me to Bourne’s world is that is a real world, and I think I’m most comfortable there. But I come to a Bourne movie to have fun as a filmmaker, to strut my stuff, and that’s part of the fun of franchise filmmaking.

For me, filmmaking is not exactly a career. I was never in it for Hollywood or anything. My films are markers of where I am in life, where I am in my head. So that’s what I’m working on, and I try to keep things in proportion – life and filmmaking. One feeds into the other.

Today, filmmaking isn’t just about shooting and releasing. You’ve to structure the marketing of a film.

‘Zero Dark Thirty’ is a great piece of filmmaking and does a valuable public service by raising difficult questions most Hollywood movies shy away from, but as of this writing, it seems that one of its central themes – that torture was instrumental to tracking down bin Laden – is not supported by the facts.

No other aspect of filmmaking has tempted me to do a film other than the script and the story itself.

It is impossible to give a performance that makes you unaware of the fact that you’re watching an actor and be really involved in all aspects of filmmaking.

As much as my primary vocation is that of an actor, if anything, I feel like I am more excited about filmmaking in general, so it’s not always a specific role that I’m attracted to, but rather an entire piece that I want to be a part of.

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.

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.

I am a serious filmmaker, and I see the whole process of filmmaking more as a piece of art.

But acting is just something I do. It’s not a passion like filmmaking is.

The big studio era is from the coming of sound until 1950, until I came in… I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.

I just love the process of filmmaking.

When I started my filmmaking journey 17 years ago, I honestly didn’t know what a documentary film was.

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.

Filmmaking is so much about catharsis anyway. It’s therapeutic.

I don’t think I have too many filmmaking years left since I hurt my spine and knee.

When I was in college, my brother, B.R. Chopra, who is everything to me, was a director in Bombay. He taught me filmmaking. What I am today is because of him.

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.’

The moral of filmmaking in Britain is that you will be screwed by the weather.

A lot of people are trying to get out of their home country and think ‘making it’ is if you’re able to work in another. For me… I’d be quite content to keep doing my own little films down there for the rest of my filmmaking career.

Many people don’t understand that in filmmaking, if you make a fundamental mistake, everything goes wrong – but you don’t realise it till the film is made.

More and more, you’re seeing television shows that are better than 99% of the movies out there. I mean, you watch something like the last couple of seasons of ‘The Sopranos,’ which is some of the most sophisticated writing I’ve ever seen filmed and some of the best filmmaking I’ve ever seen – and it’s a TV show.

I think I feel that way – that filmmaking is a responsibility, not only creatively but also financially in that it’s a business. You can’t forget that.

Filmmaking is such a collaborative piece of art that you can’t look to one person – you couldn’t look to me, you couldn’t say, ‘Because Vin’s in it, it’s this or that…’ It’s really all of us coming together for that period of time to try and make magic.

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.

For me, it doesn’t matter what kind of role I am doing. I just enjoy the process of acting and filmmaking.

With filmmaking in general, I have never absorbed the traditional knowledge of film history or filmmaking. It has always been just pick up the camera and go figure it out.

I realized that acting isn’t necessarily what I love, but it’s what I do. But I really do love filmmaking.