A Quote by Rob Minkoff
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.
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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.
What I realized is that it doesn't matter how big or small your film is. The actual filmmaking process, the actual storytelling, it's still the same thing. It's still all about creating characters that you like and creating moments that get you excited or get you tense.
When we make films - even 2D films - you're always trying to create this illusion of 3D, anyway. You're trying to create a believable world with characters walking, in and out of the perspective, to create the illusion that there's a world. The desire and drive to create this illusion of three-dimensional space is something that is true about every kind of film because you want the audience to really be experiencing it, first hand. It's a natural extension of the storytelling and the process of filmmaking.
I love filmmaking when fate is a part of the process and you are dependent on the laws of physics and the elements to get a single moment that transports or in some way creates an illusion even for a moment. I think that is tremendous fun and what I think filmmaking is, catching lightning in a bottle.
A big part of filmmaking is gathering a group of people you can work with.
I just really love producing. I love being able to be part of a solution. I love being able to create opportunities for other people to do what they do, to be part of the collaborative process that is filmmaking and television making.
A big part of my filmmaking is that I can go somewhere new and, visually, be excited by it.
Playing big, heroic characters with heart is always a lot of fun. I enjoy making movies like that, and a lot of people love to live vicariously through those characters.
Big things always interest me, but the big things don't work because they're too big. You have to find characters in which to couch all those things.
I was honestly a cartoon kid. I loved cartoons. That was more my dream than anything else. But now, it's the films of people like John Cassavetes and Gena Rowlands. Those are the kinds of characters I want to play, and that's the kind of filmmaking I'm fascinated by.
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.
Once you get into a feature, whether it's a sequel or an original one, you have to start all over again, and you're creating a world, creating new characters. You're also tracking emotions. You're trying to create emotion and create a character that you can fall in love with for two hours.
Narrative, fiction filmmaking is the culmination of several art forms: theater, art history, architecture. Whereas doc filmmaking is more pure cinema, like cinema verité is film in its purest form. You're taking random images and creating meaning out of random images, telling a story, getting meaning, capturing something that's real, that's really happening, and render this celluloid sculpture of this real thing. That's what really separates the power of doc filmmaking from fiction.
As a woman, I don't feel like I have a responsibility to create better female characters. I feel like I have a responsibility to create good characters. Because the truth is, those kinds of things ghettoize us even more as writers.
I think it's definitely beneficial for these characters to have good acting voices behind them and it affects the characters in a way that people can feel like they're part of the game and that they know these characters.
Also expressionistic filmmaking - making the audience feel like they were inside the characters' heads. And so we create all these different types of techniques to put the audience there.
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