A Quote by Pamela Adlon

I'm very influenced by documentary filmmaking and independent filmmaking, by a lot of noir and films from the '40s. Those are my favorite. And then, filmmaking from the '70s is a big influence for me.
Sometimes it's hard for me to tell the difference between independent filmmaking and studio filmmaking because all the studios have these little independent satellites. It's interesting.
Documentary filmmaking has all the challenges and hardships of narrative filmmaking without any of the infrastructure or support. That's both a blessing and a curse.
As the world of independent feature filmmaking became increasingly commercialized by the mid-1990s, there was also a parallel, much more positive development: a resurgence in documentary filmmaking, thanks in part to the advent of the cheaper, lighter digital format that helped to offset the daunting costs of pursuing political aims through film.
I'm British; I live here, and I've always made my films here. And we're on a journey in British filmmaking right now. We're attracting big films again. 'Star Wars' filming here will employ thousands of people. We're world-class in so many of the craft elements, and the vibrancy of our filmmaking is strong.
For me, poetry has a strong link to my filmmaking. My films learn from my poetry. In poetry, you're free. You start in the corner and you don't know where it leads you. I have no message, I have nothing I want to tell, I just start and I see where it leads, and it's a big surprise and relief if it's good. That's the ideal state for filmmaking.
What's great about documentary, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of 'documentary.'
A big part of filmmaking, and a big part of the power of filmmaking, is creating characters that people fall in love with. So, those things, like the bloopers, create more reality and dimension, and the sense that these are not drawings or shadows, but they are living, breathing, thinking characters. That's the illusion.
I really like Jason Blum a lot. We're friends, and while we make wildly disparate films, we share a philosophy about low-budget filmmaking, about taking chances on young filmmaking, taking risks and obliterating our salary so we can make something cheaply and if it wins everyone wins big.
What's great about documentary genre, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of "documentary."
For me, filmmaking is not exactly a career. I was never in it for Hollywood or anything. My films are markers of where I am in life, where I am in my head. So that's what I'm working on, and I try to keep things in proportion - life and filmmaking. One feeds into the other.
A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.
I was influenced by American movies of the '60s and '70s, especially Don Siegel's 'Dirty Harry' and the films of Sam Peckinpah. And, of course, a lot of the film noir movies of the '40s.
I directed a short series for Hulu called 'Paloma,' and being in an editing room, I learned a lot about acting. It gave me a new bolt of energy in terms of my interest in filmmaking because it made me realize how collaborative filmmaking can be and also that you're not just limited to one job.
I think documentary filmmaking is a braver way to make films because it's real, and you're really there.
Filmmaking in general is about feeling and not about theory. You need to know a lot of rules about filmmaking: character development, grammar, and all these thing, but then you use it instinctively. I ask myself this question all the time. I have no solid theory, I just do what I feel is right.
Filmmaking is about moments. In real life, things might take six months, a year, but [in filmmaking] you have to create the moment where it happened.
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