I love directing scenes that I’m not in because suddenly I really feel like a filmmaker which is a different thing.
The whole idea of a festival to me is that filmmakers get to interact. You see someone strolling, you get to meet them and tell them you like their work, you admire their story.
You know, when I first started making online videos, there were a lot of filmmakers I befriended who were doing it too.
There’s as much great authorship in the filmmaker community as in the literary community, and I’d love to welcome more filmmakers into the fold.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
When I think about filmmakers and actresses that I have admired my whole life, I’ve admired their entire body of work.
I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.
You can mix in certain sensitivities as a filmmaker.
‘Beyond the Lights’ was my fourth film. I gained a lot of knowledge, and I’m excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of ‘What’s next?’
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.
I’ve worked with some of the greatest filmmakers in the history of the medium, and they all have something in common: a quality that is creative, comfortable, and thoughtful.
In 1962, we created the Filmmakers’ Co-Op because nobody wanted to distribute our films. If we had the Internet in those days, we wouldn’t have needed the Co-Op.
I’m deeply stressed as a filmmaker, and I know I’m not alone. The censorship crisis, the moral policing, the politics of it has most of us on edge. I’m scared to use certain words: like, if I use ‘Bombay,’ will there be a problem?
I’m a filmmaker who decided to go to culinary school. All I picked up was the fact if I didn’t understand what was going on with every single ingredient, I could be qualifying for, like, the lunch food job at my daughter’s school.
I don’t think there’s a morally perfect way to do anything in life, but I’m not a filmmaker who tries to hide my mess.
That’s what I want to continue to do: really odd films, with interesting filmmakers.
I’ve always played that edge of fact and fiction. I used to be a filmmaker, and certainly in film that’s a line that filmmakers cross more readily and more easily than novelists.
We’re surrounded by violence, and we see so much of it on TV, especially the news programs. We almost become numb. And that forces filmmakers to try to outdo themselves… They say, ‘Look what I can do,’ and it becomes like a showoff thing. To me, that’s ridiculous. Filmmaking isn’t a contest!
It is an honor for me to take part in Canon’s Project Imagin8ion, partnering with a brand that is empowering young filmmakers and is at the forefront of technology.
I’m very thankful to directors and filmmakers who consider me in their films, and I hope I’m able to do justice to their films.
I actually chose to do ‘X-Men’ because I’m working with Simon Kinberg, who’s also a first-time filmmaker who I met on ‘The Martian’ and is an incredible writer and producer.
On one hand, as a filmmaker, I don’t want to make a movie with guns everywhere.
I don’t think of the ‘indie film world’ as this cohesive kind of world anyhow. It’s so disparate: all these different filmmakers seeking financing from many different sources to make different kinds of movies. It’s hard to pinpoint a trend, really.
It’s our responsibility as filmmakers to tell a story that’s a human drama.
Many filmmakers have had that experience. They make a movie, then out of nowhere, they either pass censorship or fail.
There’s so many things I want to do. I want to work with great filmmakers, great actors, great scripts. And there’s no reason for me to do anything short of that, because I’m 24, I don’t have a family, I don’t need to make tons of money, and I’m not dying to get famous.
Film is something I’ve always loved since I was very young. In fact, I actually wanted to study to be a filmmaker when I was younger.
It’s like everybody is shooting something, and everybody’s a filmmaker; everybody can shoot a cat video and post it. So the big thing now is – for people that have talent and have something to say, and are creative, and are capable of making something good – is how do they get attention to it?
Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn’t really like a typical Hollywood movie. These are true artists, and have a certain amount of freedom when they work, and they’re more like independent filmmakers making their way through big studios.
Stephen Chow is one of my favorite filmmakers, and so groundbreaking.
I’ve had a lot of fun watching my husband’s wonderful career as a filmmaker unfold and all the interesting places we’ve been and people we’ve met. It’s just been a really enjoyable ride.
I’m drawn toward filmmakers who have a very distinctive voice. I really appreciate people who push themselves and, therefore, push the medium forward.
From a completely financial standpoint, digital is starting to crack as far as an independent filmmaker’s access to getting your story out there – Amazon, iTunes, all of those. It makes the prospect of doing it yourself – not easy by any means – but possible, maybe for the first time.
‘Baahubali’ has definitely increased hopes for a lot of regional filmmakers. After all, what I have learnt is that it only takes one ‘Baahubali’ to enter into the audience’s hearts and cross the boundaries.
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.
Films can make you dream. They allow you to imagine a different world. It’s why I decided to become a filmmaker. I wanted that even though it seemed impossible.
I love mentoring young filmmakers and girl filmmakers.
I’ve always considered myself a filmmaker who writes stuff for himself to do.
The real beauty in my professional experience has been friendships and collaborations with filmmakers.
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.
I am filled with awe that filmmakers have the capacity to stir us and give us back a sense of wonder.
In anything I’ve ever written, all the characters sound like me, which I don’t think is a bad thing. It makes sense. But I had always admired filmmakers who made movies that didn’t sound like them at all.
I’m transitioning to television and film, but ultimately, I want to have a stronger presence on the web and be able to curate the content that I want to see. To bring attention to other filmmakers and writers.
I love Pixar films; I think they’re the greatest filmmakers in the world. I love Disney films. ‘Tangled,’ was great. I loved ‘How to Train Your Dragon,’ the Dreamworks film. But it’s not for me. I don’t want to make a film for families; I want to make adult films.
When you’re a filmmaker you’re part of a very expensive art form.
I tend to get hired because the filmmakers like what I do, so there’s usually not that much conflict about the direction.
I think, as directors, they may recognize, more than the rest of the body of filmmakers, exactly what you do as a director, because I think sometimes the conception is if the camera isn’t swinging around, and it’s not pyrotechnic or worthily melodramatic, then the direction is uninvolved.
I feel like every piece of art is a mirror of what’s going on in the present time, because the artist – a painter, a sculptor, a filmmaker – will be affected by what’s around them, so it seeps into their work.
Our responsibility as filmmakers is to make things that are fresh, unique and original.
Twitter and Tumblr and Facebook, it’s so amazing because years ago, when I was growing up and watching movies, there was no way for us to interact with filmmakers at all. You could send a letter, and you’d never know if you were going to hear back or not.
When I was a teenager, I thought maybe I’ll be a filmmaker, making film documentaries. My dream when I was a girl was I would be hired by ‘National Geographic’ or work with David Attenborough, but it didn’t happen. I became a model.
Music is a very, very powerful tool that filmmakers use to sway people into emotions that they intend you to feel.
‘Looper’ was a wonderful script. Rian Johnson is the real deal and a really talented filmmaker.
I had played sports all my life, and I thought that was going to be the way. But I saw where the potential in football was going to end. When it comes to decision-making, I just follow my gut at the end of the day. And if I don’t, I get in trouble. I wanted to become a filmmaker.
I always tell younger filmmakers, it’s not just about the acting or the art itself. It’s about how big of an audience watches your film.
What you want, as a filmmaker, is to be obsessed with and fall in love with the material.
