A Quote by Neil Marshall

I always wanted to be a filmmaker and became one through sheer single-mindedness. I came to filmmaking from a background in graphic design. I went to film school at Newcastle Polytechnic.
Graphic designers should be literate in graphic design history. Being able to design well is not always enough. Knowing the roots of design is necessary to avoid reinvention, no less inadvertent plagiarism.
I was interested in immigration and I wanted to use that in the film, not necessarily to talk about immigrants, although I wanted to do that, but to talk about ourselves through the eyes of an immigrant. The film takes place in the school and it tells us a little bit about who we are and where we're at, but through the eyes of someone who has a different background.
I became a documentary filmmaker because I wanted to make socially conscious films. I never studied filmmaking - everything I have learned has been on the field.
I've come up through art school, through painting, through graphic design, through advertising, through TV commercials and music video. I've designed books, built billboards, matchbooks, corporate identities. I continuously paint, I've done conceptual art pictures.
In my book "Sound Unbound" we traced the guy who actually came up with the main concept for the graphic design of the record cover sleeve. His name is Alex Steinweiss. And one of the things in my book that we really tried to figure out was the revolution in graphic design that occurred when people put images on album covers.
I always expose the apparatus. I show how the film was made. I acknowledge the filmmaker and the filmmaking.
I got into university to study graphic design, and I got into drama school as well, so I had the choice whether I wanted to go down the sensible route or if I wanted to become an actor.
I wanted to be a writer as a teen... so storytelling was my first love. In my late teens, design became an obsession as I realized that I could express myself through the medium. Much later, when I founded Fuseproject in 1999, our slogan became 'design brings stories to life.'
Education is huge for me. I went to public school until I turned thirteen, and was lucky enough to afford college once I became successful as an actress. I cannot believe that quality education costs as much as it does in this country. Ghetto Film School is a remarkable public high school in New York City where students get to learn to express themselves through filmmaking, and have hands-on access to equipment.
It's important to show that creativity is in many different sectors, not just in graphic design or filmmaking.
I grew up doing plays - I went to a stage school after school - and it's always something that I've wanted to do, but, in a weird way, if you do television and film and you didn't go to drama school and don't have a theatrical background, it's hard to get your foot in the door. In the same way that it is for theater actors to get into television and film. There's a weird prejudice that goes both ways.
I became passionate about nature filmmaking when I graduated from UCLA, and one of the things I always wanted to do was shoot really high quality film, so I got into time-lapse photography - so that means when you shoot a flower, you're shooting, like, one frame every twenty minutes, so that's basically two seconds of a film per day.
I think I've always wanted to direct, but I didn't go to film school. I was lucky enough to work in movies, and I think those became my film school in terms of acting and watching directors work and also writing and co-writing and producing.
Single-mindedness. I hate to say it because I don't think it's the best thing for developing a person, but the single-mindedness - just concentrating in the one area - that's what it takes to be a champion.
My background was in graphic design, but when I was doing it, it was all hand-drawn stuff, not computers.
I have a background in graphic design and have been designing t-shirt graphics for years.
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