A Quote by Ava DuVernay
Every filmmaker imbues a movie with their own point of view.
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As a filmmaker, I always took my inspiration from a filmmaker named Marcel Ophüls, who said, "I always have a point of view, but the trick is showing how hard it is to come to that point of view."
I feel like I've been observed as an individual more than a gay person, or as a filmmaker with a certain point of view rather than a lesbian filmmaker with a gay point of view.
But every point of view is a point of blindness: it incapacitates us for every other point of view. From a certain point of view, the room in which I write has no door. I turn around. Now I see the door, but the room has no window. I look up. From this point of view, the room has no floor. I look down; it has no ceiling. By avoiding particular points of view we are able to have an intuition of the whole. The ideal for a Christian is to become holy, a word which derives from “whole.
My point of view when I make a book or I make a movie is to see the humanistic point of view. The point of view of the daily life of normal people.
There's the instability of my attitude as an artist, the instability of our perception of the world, and the idea that with this mix, you never know exactly what's the point of view of the filmmaker. This breaks the stability of the belief that a filmmaker is somebody who has a logical relationship with his own material. These elements create this atmosphere that I find more interesting than a normal atmosphere, based only on the characters.
It gives liberty and breadth to thought, to learn to judge our own epoch from the point of view of universal history, history from the point of view of geological periods, geology from the point of view of astronomy.
If you want the film [La La Land ] to represent all things jazz, it does not. You'll be disappointed by that. But, if you just see it as one guy's point of view, one filmmaker's point of view, and one story among many stories that can be told about jazz, then it's not as much of an issue.
A good score should have a point of view all of its own. It should transcend all that has gone before, stand on its own two feet and still serve the movie. A great soundtrack is all about communicating with the audience, but we all try to bring something extra to the movie that is not entirely evident on screen.
Film making is an expensive, as well as a serious business. We should be able to entertain our audiences, who are fully aware of what they want. Every filmmaker has a different point of view and presents facets of society.
The great thing is the thing of being able to see things through many points of view. That's enlarging. I mean, it saves you from ultimately from the boredom of having one point of view, like being locked in a room with nothing but your own point of view, your own references.
You could say that Iron Man was a second-tier character, and it turned out very successfully. I simply think it's down to the movie itself, and whether people enjoy the movie, are involved in the movie, and that it entertains them. From that point of view, the movie has to stand alone.
every subjective phenomenon is essentially connected with a single point of view, and it seems inevitable that an objective, physical theory will abandon that point of view.
The writer needs to react to his or her own internal universe, to his or her own point of view. If he or she doesn't have a personal point of view, it's impossible to be a creator.
I hope I can be a filmmaker where every movie will be different, and not make one type of movie. I'm always looking for a character that interests me.
The most important thing as a filmmaker, the hardest journey you'll have, is to find your point of view.
I take a biocentric point of view. I look at things from the point of view of the Earth and the laws of ecology. As opposed to the anthropocentric point of view, where everything revolves around humanity.
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