A Quote by Bennett Miller

Making a film is a challenge. — © Bennett Miller
Making a film is a challenge.
I think it is always a long shot getting a book made into a film. Making that book into a film is going to be quite a challenge.
Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
The biggest challenge was trying to convey the story of the making of a film that isn't finished yet - and which won't be finished until the third film, The Return of the King, reaches our cinemas towards the end of 2003!
The challenge of film is making it right there at that moment, and then you get to move on.
Every film is a challenge. I always say that making a movie is like film school - you're always learning. But unlike most schools, you never get done with it. You never learn everything.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
[My work] looks very cinematic because it's not abstract video art. It's sometimes very narrative and since I play with film grammar in my video work, making a feature film was almost the same challenge.
The biggest challenge was to make sure that we are looking at things honestly and truthfully. We weren't making an apologist film. That was the toughest part.
The biggest challenge of any cinematographer is making the imagery fit together of a piece: that the whole film has a unity to it, and actually, that a shot doesn't stand out.
There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.
The next film I'm making is a horror film, and I'm making it with A24. It's a dark break-up movie that becomes a horror film, set in Sweden. That's all I can really say now. It's called 'Midsommar.' Everybody's been spelling it wrong. It's 'midsummer' in Swedish.
The way you set up for a sequel is by having a successful film. The focus is on making a successful film, and making a film that travels around the world, and that people enjoy and have fun with, and that people are able to escape with.
The more I go on in this career of making albums, writing songs and playing music, the more I think of each album as a movie. I really wanted to make a film, but making a film is much more expensive than making a record.
I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.
The challenge in writing the songs for The Aristocats truly fell on the animators & director of the film. Robert & I wrote the initial songs for the film, just prior to leaving full-time employment at the Walt Disney Studios. Therefore, some of the songs we wrote for The Aristocats were never used. I believe, therefore, the challenge fell upon the makers of the film to select what songs made the final cut.
The core plot of 'Mercury' is so gripping that when I thought of making it as a silent film, it only made it more interesting. Once I finished writing the first draft, making a silent film that's both thrilling and engaging seemed possible. When the film team read the final script, they felt the same.
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