Filmmakers Quotes
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I think the only thing filmmakers can do is try to make good movies and make them as long as they allow us to keep making them. But at the end of the day, it is a business, and if audiences don't care, there's nothing we can do. It'll just go away, I guess.
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I am blessed to live and work in France, a country where women filmmakers are by and large not unfairly treated. So I wouldn't have much to contribute regarding issues faced as a female director.
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I love reading scripts and offering notes and opinions. I'd like to be an advocate for the emerging filmmakers whom I'm working with.
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When I work with filmmakers today, I'm really an advocate for the women's roles that I see, to make them as layered and as deep as possible. I think many of them are underwritten.
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The most successful filmmakers are not always the most knowledgeable ones. They are the ones who put action to what they learnt. They do, not talk about doing.
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We've always wanted to be filmmakers.
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I'm lucky a couple of filmmakers have seen beyond what you're saying.
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I think that technological tools that filmmakers use to tell stories, in a perfect world, need to become invisible. When it's brand new and it's never been seen before and you're birthing this stuff, it's very much on people's minds.
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Filmmakers have to really find a unique take on something if they're going to explore an already-explored genre of movies.
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I think it's important that we have a new batch of British film-makers that aren't doing the same old stuff. And that includes me.
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The most interesting part of IIFA is that I get to meet filmmakers from India. I just attended a symposium on Satyajit Ray with Rituparno Ghosh and others. It was just so satisfying.
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In short form I'll say it was an approach to the family and to [author] Jon Krakauer that then led to me seeming to rise to the top of the heap of several filmmakers that were trying to get the rights. And by top of the heap I mean in terms of being somebody that was trusted to do it as they said they were going to attempt to do it and that this way of doing it would be something they would be willing to allow.
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Some filmmakers don't want to just entertain, to play with the audience like a little ball and then dump them. They want you to be imaginative, and if you're intrigued, the work will grow on you and you're going to build your own interpretation.
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Audiences crave something they've never seen before. That's what they want. They want to be dazzled. They want to go in either to have their expectations blown out of the water, or have no expectations and are dazzled by the decisions that we filmmakers made.
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Some filmmakers go into a film and it's already shot and cut in their head.
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I think that the whole voyeuristic attitude of filmmakers or of me personally - of shooting documentaries and so forth - is an important issue. And it was an important issue to me, personally. And the whole question of when - when do you put the camera down or when do you keep shooting to get the shot. And a number of times in my life I've had that question hit me very hard.
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Some filmmakers, you know, have their style and then they kind of go looking for the movie. I'm not like that. I don't have one style that I want to take from movie to movie.
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I always say that AMC hires filmmakers, and they let them be filmmakers.
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From where I sit, I see the digital cinema creating sloppiness on the part of filmmakers because they know if they really get in trouble, they can fix it later. So they don't pay that much attention, and of course it costs a lot more money.
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I look at other filmmakers and see skills in them that I wish I had but I know that I don't. I feel like I have to work really hard to keep myself afloat, doing what I do. But I find it pleasurable.
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Who could be more desperate than filmmakers?
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We, as film-makers, are privileged. We can make people cry or laugh. We can make them think and feel. It is a great privilege and a great responsibility.
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On an animated television series, you pretty much read the script as written. Whereas on an animated feature, you'll sometimes record the same scene multiple times over the course of a year as the filmmakers continue to tweak that part of the movie.
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If you go back all the way to the 1920s, filmmakers in Hollywood changed the identity of villains from German to Russian.
