A Quote by Finn Jones

There's a documentary film-maker called Werner Herzog, who's a German film-maker. I really dig his stuff, I'd love to chat with him. — © Finn Jones
There's a documentary film-maker called Werner Herzog, who's a German film-maker. I really dig his stuff, I'd love to chat with him.
I really didn't want to be boxed into becoming a certain kind of film-maker - becoming the Maori story film-maker because I had made those short films.
My experience I consider an accident in the Hollywood system. I don't believe it should be a reference for a black film maker, or an example for any young film maker, because it's purely luck.
Werner Herzog, I knew him for so many years, when Fassbinder was at his highest moment. But we had a rule: An actor from Fassbinder could never work with an actor of Werner Herzog or Wim Wenders. Because if we would have done that, we would have been spies. "Ah, you worked with Werner - how was it? How did he direct you?" I was Fassbinder's actor.
Werner Herzog, I knew him for so many years, when Fassbinder was at his highest moment. But we had a rule: An actor from Fassbinder could never work with an actor of Werner Herzog or Wim Wenders. Because if we would have done that, we would have been spies. 'Ah, you worked with Werner - how was it? How did he direct you?' I was Fassbinder's actor.
Let me put it this way: if I am the leading man of the film, and the film-maker is asking me to support him in a certain aspect so as not to burden the budget of the film, I will do whatever I can to support his vision.
To the documentary director the appearance of things and people is only superficial. It is the meaning behind the thing and the significance underlying the person that occupy his attention... Documentary approach to cinema differs from that of story-film not in its disregard for craftsman-ship, but in the purpose to which that craftsmanship is put. Documentary is a trade just as carpentry or pot-making. The pot-maker makes pots, and the documentarian documentaries.
On working with director Werner Herzog: I have to shoot without any breaks. I yell at Herzog and hit him. I have to fight for every sequence. I wish Herzog would catch the plague.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.
I was a documentary film-maker for 26 years before I became a full time actor.
A film maker's energy and creativity don't have to end when he turns over his film.
I got five kids, and my oldest is a documentary film maker and camera man, and still photographer.
The biggest lesson we took was when Werner [Herzog] said in a meeting with us that the mother of all challenges is to get your film seen in theater. To finally share this film has been so gratifying. The way audiences have responded, too.
A simple love story can be made into an interesting film if the film-maker can think differently.
Terry Gilliam, he's a really interesting and amazing film maker, and when he gets it right, it's really powerful stuff.
My favourite film-maker west of the English Channel is not English - but to me doesn't seem American either - David Lynch - a curious American-European film-maker. He has - against odds - achieved what we want to achieve here. He takes great risks with a strong personal voice and adequate funds and space to exercise it. I thought Blue Velvet was a masterpiece.
For the film maker must come by his convention, as painters and writers and musicians have done before him.
This site uses cookies to ensure you get the best experience. More info...
Got it!