Top 100 Quotes & Sayings by Sean Baker

Explore popular quotes and sayings by an American director Sean Baker.
Last updated on December 21, 2024.
Sean Baker

Sean Baker is an American film director, cinematographer, producer, screenwriter and editor. He is best known for the independent feature films Starlet, Tangerine, The Florida Project and Red Rocket, as well as his involvement in the Fox/IFC puppet sitcom Greg the Bunny and its spin-offs.

I'm fine with a title that's open to interpretation.
I definitely learned a lot about how to be more communicative with my crews.
'Greg the Bunny,' the comedy television show that I co-created, happened almost by accident. Dan Milano, Spencer Chinoy and myself made a public access show that caught the eye of IFC, and it has had three incarnations since then with a season on Fox.
Film is the only art form where we feel we have to title our stuff literally. Musicians don't have to title their songs literally. It can be more about what's conjured up when you think of a word.
Somebody who doesn't understand my directing style could be pretty taken aback by it if I start going off the schedule and focusing on something because I'm inspired in the moment.
'Tangerine' being my fifth film, I was out of favors. I couldn't afford to get the Arri Alexa or RED cameras and I definitely couldn't shoot on film. — © Sean Baker
'Tangerine' being my fifth film, I was out of favors. I couldn't afford to get the Arri Alexa or RED cameras and I definitely couldn't shoot on film.
I'm actually very critical of digital cinema.
'Tangerine' was less than half the budget of 'Starlet,' and 'Starlet' was already a microbudget film. A director always wants more time, and we had a limited amount of resources.
It feels dangerous when people say, 'Oh, Sean Baker focuses on marginalised people.' And offensive. As if I'm standing there with my planner thinking, 'OK, where's the next marginalised group I can make a movie about?'
All I know is this: The reason that I've gotten attention from this industry is that I just kept making films until they paid attention.
Because I'm a dramatist, I'm allowed to take liberties, but I want my films to be based in truth, and it's very important to me that the community we're focusing on is happy with the film. From an ethical point of view, that's everything.
I had never even heard of the term 'hidden homeless' before... It's not just Orlando and Kissimmee. It's a national issue; it's a national problem.
I'm seen as a little risky to the industry, I think. All my favorite directors are.
I think I'm my own worst enemy.
I've told my agent to push the idea of me as a director for hire off the table. Otherwise, we're wasting people's time.
I'm not really the type to jump into a $20 million film just to do it. — © Sean Baker
I'm not really the type to jump into a $20 million film just to do it.
Everyone's asking if I've been offered a superhero movie, and no, I definitely have not.
Nobody is going to just come and give you money unless you've proven yourself, especially if you're doing something that is unconventional or unorthodox and outside the way the industry thinks.
Filmmaking has been my love since my mother brought me to see James Whale's 'Frankenstein' at the local library at the age of six.
Most filmmakers, if not all, come from a place of privilege, if only because of the expense.
Many trans women of color come from poverty and are forced to live on the streets. Their families have shunned them, and their remaining family are the friends they've come to rely on.
When it comes down to it, I'm still in love with film - I'm a cinephile.
As long as I can pay rent, that's all I care about.
So many films are being shot on the DSLR, that they're all starting to look the same. There's a shallow depth of field. It's a nice look, but I can always identify a film shot with a DSLR.
Like with 'Starlet,' we intentionally did not look at 'Boogie Nights' before making 'Starlet,' and I should have. Because there are one or two scenes that come too close and it looks almost like - because it's about the same industry, and you're going to be covering certain subjects.
If more stories are told about marginalized communities, subcultures, and minorities, the less marginalized they will be.
I spend a lot of time on my phone, so I have two Mophie backups myself.
I'm from outside most of these worlds I'm focusing on, and I feel there's an ethical approach to making these kinds of films. My biggest fear is that if you paint your characters in, you could be doing them wrong.
The minute you're laughing, some people will say you're laughing at people.
I grew up torturing friends and family by making super-8 and VHS epics.
I have a feeling that I might even disappoint some people by staying in this two to three million range and continuing to make character-driven stories.
A movie will live or die with your casting.
I have been very inspired and influenced by 'The Little Rascals' my entire career.
If I'm telling an L.A. story, I want to tell a fresh L.A. story and show places that haven't been shown before.
Kids are kids. They still need handholding. No matter how trained they are, they need to be told what to do. They need to learn lines and understand blocking. You can't just say, 'I want you to walk from here to there and deliver your line.'
I'm an advocate of all mediums - it's a larger canvas for us as artists - but we have to keep in mind that celluloid film is what created this wonderful art form, and we have to keep it alive.
I'm always looking for authenticity in my films. They're based in realism.
A lot of the LGBTQ community accepted 'Tangerine,' which was something we worked really hard to achieve.
Cinema is always evolving.
I cannot stand Hollywood child performances. It just reeks of artifice, and it's weird that, for some reason, Hollywood feels they have to make their child characters smarter than adults, and suddenly kids have the vocabulary of a college grad.
I don't have a family. I'm not planning one. I don't have to support anyone but me and my dog. — © Sean Baker
I don't have a family. I'm not planning one. I don't have to support anyone but me and my dog.
New York City is the most culturally diverse city in the world, and yet there have been few films about the Chinese, Latino, and Middle Eastern experience in New York.
A lot of independent films try to pull off a 14-day shooting schedule, which I think is ridiculous. No matter how big or small you are, it really kills whatever sort of time you get to allow the actors to find their characters, and to spend time to think about what they're doing.
I went to NYU thinking I was going to make a 'Die Hard' sequel, or maybe action and genre films for the studios, but I ended up falling in love with personal cinema.
My way of directing is definitely unorthodox, definitely unconventional.
You know, master classes are essentially extended Q&As. That's how I always approach them. I don't mean to downplay it. It's just that I never fancy myself as someone who is taking a class. 'Master class' insinuates a teacher, and I'm not one.
I've fallen in love with Los Angeles, and I love to explore it myself.
Most of the characters in 'The Little Rascals' were living in poverty, but they decided to focus on the joy of being a kid: the humor, the heart, the resilience.
I want my films to be different, to use different techniques, not just make a calling card film.
We're living in an age of the think piece.
When you see bad acting, that's usually what it is - they're not listening to the other characters. It's always hard with first-time actors to get them in that moment where they are really listening to the other characters and reacting to the other characters.
I don't see myself as a short-film director, and I'm not a commercial director. — © Sean Baker
I don't see myself as a short-film director, and I'm not a commercial director.
I come from the school of thought that feels that if you can shoot film, you should shoot film.
There are characteristics of Central Florida you don't see anywhere else. It's quite beautiful.
I would like to make sure I'm not homeless.
With a lot of these social realist films, the first thing you do is drain the color.
I have friends who are trans advocates, and they were upset that Jared Leto played a trans person.
I'm not looking to get rich.
When you're a child, the colors are brighter, sounds are louder and whatever.
If you look over the history of cinema, changes happen when directors embrace new tools and technology and think outside the box.
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