A Quote by Neill Blomkamp
If there isn't a deep core reason for a film existing, what is the point? For me to be known as a filmmaker that makes films that have a point, I'm stoked.
Related Quotes
One filmmaker makes films that are deep, intellectual, profound and confrontational. And the other one makes purely vacuous, escapist films. I'm not sure the one who makes escapist films is making a poorer contribution than the one who makes the deeper films.
When I used a woman in my films or wrote a woman into my film, I wanted her to be a central point and a motivating point or a catalyst to function in the film.
I went from silent films to watching French new wave cinema. I became entrapped by it all. That's when I knew I wanted to do film. The moment you start looking at film from a critique point of view - there's a difference between watching a film as an audience and with a critical point of view.
The starting point and the ending point are nothing but two arbitrary choices. You make them as in soccer games, where they chose that it's 90 minutes, not less and not more. But the choices are the responsibility of the filmmaker. You have to choose to join the story at an arbitrary point, and you leave it at an arbitrary point.
As a filmmaker, I always took my inspiration from a filmmaker named Marcel Ophüls, who said, "I always have a point of view, but the trick is showing how hard it is to come to that point of view."
In my 100th video, I gave a shout-out to the 78 subscribers I had at that point. And I was stoked at that point just to have that many who cared about what I had to say.
I feel like I've been observed as an individual more than a gay person, or as a filmmaker with a certain point of view rather than a lesbian filmmaker with a gay point of view.
My films are very rooted in specific people's point of view. Some film-makers give a more global point of view, like God looking down at the characters.
If you want the film [La La Land ] to represent all things jazz, it does not. You'll be disappointed by that. But, if you just see it as one guy's point of view, one filmmaker's point of view, and one story among many stories that can be told about jazz, then it's not as much of an issue.
My pay packet is reasonable. But I prefer doing films where I have a meaty role. The set-up of the film and the filmmaker also matter to me. For me those are vital issues that help me decide on a film. You never sign a film only for money.
I guess, in a sense, 'Audition' was a film that gave me an opportunity that I hadn't had up until that point. So that's definitely one that is important to me. Then there's 'Visitor Q' that kind of taught me that there are some kinds of films that can only be made as low-budget films that really wouldn't work as anything else.
My working style is democratic and I want people to be honest with me. Reputation makes everyone agree with your point, which is dangerous for any filmmaker.
... unless you made your life a turning point, there was no reason for existing.
Typically in horror films the character just services the plot, and you really are just going from 'point a' to 'point b,' just so that you can end up at 'point c.' They are just sort of stick characters. That's just not interesting to me.
My main point about films is that I don't like the adaptation process, and I particularly don't like the modern way of comic book-film adaptations, where, essentially, the central characters are just franchises that can be worked endlessly to no apparent point.
Film is subjective, and we must be careful with that. The kinds of films I love are those that observe, and I give possibility for people to talk. No need for me to tell people what to think - even when I make a film like 'S-21.' It's only one point of view. It's still a film; it's not a tribunal.
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