A Quote by Roger Ebert

We don't have a lot of class-conscious filmmaking. — © Roger Ebert
We don't have a lot of class-conscious filmmaking.
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.
The essence of a class system is not that the privileged are conscious of their privileges, but that the deprived are conscious of their deprivations.
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.
There isn't much discussion of ruling class in America even in Boston, probably one of the most class-conscious cities in the country?
There is quite a lot of mutual misunderstanding between the upper middle class and the working class. Reviewing what's been said about the white working class and the Democrats, I realized that there's even a lot of disagreement about who the working class IS.
The war against working people should be understood to be a real war…. Specifically in the U.S., which happens to have a highly class-conscious business class…. And they have long seen themselves as fighting a bitter class war, except they don’t want anybody else to know about it.
The fact of the matter is that the U.S. is run by an unusually class-conscious, dedicated business class that has a very violent labor history, much worse than in Europe.
What I always tell people is... Unless you are so passionate about filmmaking that you would rather live out of your car than not do it, find something else to do as a career and do filmmaking as a hobby. This industry is one of the hardest to break into and be successful. It takes a lot of passion and dedication for it to get anywhere.
Whole class of filmmakers, they're all graduating to a new level of filmmaking, which I think is awesome.
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.
At any filmmaking class, you learn the power of the visual medium and are always trying to minimise the words.
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.
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.
The influence of Steven Spielberg to my career is unquantifiable. Every day on the set with him is a master class in filmmaking.
'Crazy Rich Asians' and 'A Simple Favor' were each a master class in filmmaking, and I had so much fun working with all my costars.
I'm conscious of race whenever I'm writing, just as I'm conscious of class, religion, human psychology, politics — everything that makes up the human experience. I don't think I can do a good job if I'm not paying attention to what's meaningful to people, and in American culture, there isn't anything that informs human interaction more than the idea of race.
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