A Quote by Bill Paxton

When you start out as a filmmaker, you do parodies, because you can't really compete on a studio level. — © Bill Paxton
When you start out as a filmmaker, you do parodies, because you can't really compete on a studio level.
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.
I think I can still go out there and compete, and compete at a high level.
I think we've put ourselves in a position that if we can go into the Big East and compete at the level that we aspire to compete at, we'll get out of this what we want.
I really took filmmaking very seriously... It was an honor and then a crutch also, because at a young age, I was like, I guess I'm a serious filmmaker. I never set out to be a serious filmmaker. I just set out to make movies.
Performing is really close to being in studio but performing takes over because being in the studio is two things; the first thing is that it is really beautiful to improvise and jam, but afterwards it becomes hard because it's very rare that a song will come together quickly. Most of the time it's back and forth and trial and error. You start questioning whether the song is good or not. So that can be quite tough.
When I'm marketing a film, whether its mine or someone else's, I work with a great deal of strategy and elbow grease until the job is done. It's pretty simple really. I just dive in and start digging. Yes, I'm fortunate to know the in's and out's of a true studio-level marketing campaign. But really, anyone who is diligent and well-researched can pull it off too. Its easier for me, but it doesn't make it impossible for others.
I'm really interested in having a studio one day and being a filmmaker.
By the time I'm in the studio recording my parody, 10,000 parodies of that song are on YouTube.
The studio is really fun because I don't make it into the studio unless I've got something I really like. I love working with different musicians in the studio; that's a real joy, working with someone for the first time.
I love the studio system. Love that studio system and all their money. They're great; I think they're fabulous . You know, what it is right now is I feel like I'm still learning as a filmmaker, I'm still starting out.
I write in the studio, I don't sit around with a piano or a guitar and write songs. I get satisfaction out of that because I can finish the song really quickly. I can use whatever momentum I have. I've got to put it down, develop it, and get it as far [as I can], because the excitement of the moment of when you get that idea - you want to try and hold it and build on it and really gain strength from it. Being in the studio and writing songs like that is really the best way.
We've been fighting our whole lives to say we're just human beings like everyone else. When we start separating ourselves in our work, that doesn't help the cause. I've heard it for years: 'How do you feel being a black filmmaker?' I'm not a black filmmaker, I'm a filmmaker. I'm a black man, I have black children. But I'm just a filmmaker.
I'm just looking forward to going out there and getting the opportunity to show that I'm a starting guard in this league and I can compete with the other starting guards in this league and compete at a high level.
The interesting thing is that when you start out, people have no judgment and they see you young and fresh as a filmmaker - and because you have no experience yet, you're much more naive and think anything is possible.
I think the purpose of test screenings is different for the studio and for the filmmaker. For the studio, I think they want to know whether the film works or not.
Because I'm such a studio guy, I really trust my process. I really believe in myself in the studio.
This site uses cookies to ensure you get the best experience. More info...
Got it!