A Quote by Steve Carr

I didn't go to film school; I studied fine art - I learned how to be a filmmaker on everybody else's money. — © Steve Carr
I didn't go to film school; I studied fine art - I learned how to be a filmmaker on everybody else's money.
I was making commercials. That's how I learned the craft. That was the marketing part of it: directing commercial for TV. It wasn't the most common thing to become a filmmaker in Greece. I started by saying I was interested in marketing and have a proper job in advertising and commercials. Basically, I studied film to learn how to do marketing, and commercials. As I studied film I learned I'd be interested in making films instead of commercials.
I mean I met James Wan at film school. That's where we met. I didn't go to film school to find someone else to work with. I was thinking I would go and learn to direct and go and be a director like everyone else at school.
I started in high school, and in college, I studied radio, TV, and film. The plan was to be a filmmaker, and it was always comedy.
To find money to make a film, you have to write maybe 50 pages to explain what you'd like to do, what the film will be, but everybody lies. Because he doesn't know what the film will be. Everybody writes 50 pages and sends it to a TV channel, a producer, to get money, but everybody lies. Or else your film is not interesting.
I come from a film background as I studied film at art school.
I studied economics. I studied industrial engineering. It wasn't until later, when I was around 26, that I really decided to go to film school.
I learned how to tell stories with Jay-Z on 'City Is Mine.' I learned how to film and choreograph dancing on 'Can I Get A...,' and I got to kind of be a documentary filmmaker with 'Hard Knock Life.'
I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.
I think that's true of all cinema, that's why cinema is the great humanistic art form. Whatever the film is, it doesn't matter what the film is about, or even whether it's a narrative or figurative film at all, it's an invitation to step into somebody else's shoes. Even if it's the filmmaker's shoes filming a landscape, you go into somebody else's shoes and you look out of their lens, you look out of their eyes and their imagination. That's what going to the pictures is all about.
I learned that you have to say that you're a filmmaker. You're not a screenwriter; you're not a director for hire. You've got to take charge. You're a filmmaker, and you're going to make a film.
While I was trying to save money to go to the National Institute of Dramatic Art in Australia I ended up getting all of this experience which meant that by the time I had enough money in the bank to go to school I didn't really need to go to school anymore.
I'm a bit of a weird creature... I'm self taught and went to a regular film school, not art school, and I think it's unusual for somebody to approach animation from that angle. In a sense I've sometimes consclassered myself more of a filmmaker who just happens to animate.
I went to art school in the days when it was what you did if you didn't want to be like everybody else. You wanted to be strange and different, and art school encouraged that. We hated the drama students - they were guys with pipes and cardigans.
I've learned from every director I've worked with. Everybody's style is very different, and I always say that being an actor is the best film school that I could ever go to.
What I have learned first and foremost is to follow your instincts. As a filmmaker, there are no rules as to how to play this game. That is a big problem I think that exists in the education on how to be a filmmaker or how to make movies.
In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.
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