A Quote by Ang Lee
For a filmmaker, it's a rare chance to do a personal film on a big canvas.
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I'VE NOTICED, FROM MY EXPERIENCE, IF THE EXTERNAL, EMOTIONAL CONSTRUCTION OF IMAGES IN A FILM ARE BASED ON THE FILMMAKER'S OWN MEMORY, ON THE KINSHIP OF ONE'S PERSONAL EXPERIENCE WITH THE FABRIC OF THE FILM, THEN THE FILM WILL HAVE THE POWER TO AFFECT THOSE WHO SEE IT.
If you think you are a filmmaker... make a film, and then show it. You need to be able to finish what you started so it is presentable. When you screen it and see if your film has an effect on an audience, you will understand what it means to be a filmmaker.
For me, whether or not a film has some kind of massive budget or is an independent film, or however it's getting made, it's always about the filmmaker and, hopefully, being a vessel for the filmmaker's vision. That's what really attracts me to projects.
To make a real independent film where the filmmaker is in charge creatively, one must sacrifice personal, financial, and physical well-being.
I'm a film director. Gay is an adjective that I certainly am, but I don't know that it's my first one. I think if you're just a gay filmmaker, you get pigeonholed just like if you say I'm a black filmmaker, I'm a Spanish filmmaker, I'm a whatever.
Any filmmaker who has translated some personal vision into a film that actually gets shot and distributed is wildly successful. Congratulations! Anything after that is gravy.
My father was a filmmaker but he made B-grade films. However, he always aimed at making a big film.
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.
Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
Once, I got a chance to meet filmmaker Pradeep Sarkar. He wanted me to give music for his film but the project never got off.
I knew I needed to make a studio film - not for any financial reason, but because, as a filmmaker, and especially as a female filmmaker, you have to break through the glass ceiling.
'Ashes of Time' was my third film, and as a young director at that point, it's not very often that you have the chance to make a big martial arts film, so of course I jumped at this opportunity.
It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.
When I write music for a film, I'm not writing a solo album, and I'm not writing a personal piece. I'm part of a team of artists. So I think like a filmmaker more than a composer.
When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.
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