A Quote by Boney Kapoor

When a filmmaker tries to make a good film and if he gets success in that then definitely it's a nice feeling. — © Boney Kapoor
When a filmmaker tries to make a good film and if he gets success in that then definitely it's a nice feeling.
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.
When a country's government is involved in something, no filmmaker tries to make a film on it.
A good feeling for me is when you train, and then you put on fresh clothes. New clothes after a training session - you have this rush of endorphins from exercise that everybody gets, and then you get that nice feeling of fresh clothes. It's a double whammy.
It's always nice to have another filmmaker to reassure you that you are making a good quality film.
The worst thing you can do to a filmmaker is to walk out of his film and go, 'That was a nice movie.' But if you can cause people to walk out and then argue about the film on the sidewalk... I think we're all seeking dissension, and we love to affect an audience.
A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
If you make a good film, then there's no harm if it achieves commercial success.
I love my work, apart from when it's driving me crazy. But I get to be interested in stuff and think like a filmmaker as I'm buzzing about the world and then see an opportunity to make a film, and then make it happen.
For me, it's always filmmaker and then character and then story. They're all equally important but if you don't have a great filmmaker, you will not have a great film unless you just get lucky.
My earliest memory of actually definitely wanting to be a filmmaker was when I got thrown out of class when I was 10 and I was storyboarding a short film I wanted to make with my friend's camera.
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.
When industry people see something different they don't know what to do with it, so filmmakers who make films about women, they kind of fall through the cracks. If a woman filmmaker makes film about war, like [Kathryn] Bigelow, they say "Okay, this is a war film, it has ninety percent men in it, we know what to do with it." But then she still gets attacked for not doing it properly. [...] But even though it bothers me I don't want to dwell on the sex and gender thing.
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 make films that are very personal, and I always have. It's kind of the only thing that I think I have to offer as a filmmaker: the intimacy I've had with experience in a particular world, so the film comes from things I've seen and things I've felt. It gets transformed by the process. I don't think I'd ever start making a film until I had both the intimacy with the subject and the distance to make it live in a certain way.
I want people to think that if I'm in a film, then that film definitely has good content.
You need to be a good filmmaker to make a compelling two-minute film as well.
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