A Quote by Sam Taylor-Johnson

I was always interested in film, but I never knew how to go about becoming a filmmaker. — © Sam Taylor-Johnson
I was always interested in film, but I never knew how to go about becoming a filmmaker.
I didn't know anybody who was a filmmaker - there was no film industry where I grew up. I never knew what a director really did until I was in high school and I started reading up about it. I've always loved films, and I always felt like a storyteller.
For me, whether or not a film has some kind of massive budget or is an independent film, or however it's getting made, it's always about the filmmaker and, hopefully, being a vessel for the filmmaker's vision. That's what really attracts me to projects.
I knew I needed to make a studio film - not for any financial reason, but because, as a filmmaker, and especially as a female filmmaker, you have to break through the glass ceiling.
I was making commercials. That's how I learned the craft. That was the marketing part of it: directing commercial for TV. It wasn't the most common thing to become a filmmaker in Greece. I started by saying I was interested in marketing and have a proper job in advertising and commercials. Basically, I studied film to learn how to do marketing, and commercials. As I studied film I learned I'd be interested in making films instead of commercials.
When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.
I think caring too much about the economics starts affecting the creative aspect of the film. That is a dangerous process for a filmmaker. He should make his film without having to worry about how much it has cost or how much it will be sold for.
I think Frank Capra was a much craftier filmmaker, a wonderful filmmaker. He had enormous technique, and he knew how to manipulate the public quite brilliantly.
My mother was a seamstress, so I always grew up with her making clothes. I knew how to construct outfits. I knew how to sketch. I knew how to customise. But I could never imagine it as a career.
It's so sad to me [see the director's versions of films] because it shows how the filmmaker never got to make the film he had originally envisioned. You watch it and go, "Oh my god, he had to cut that scene! I can't believe it."
[Phil Wood] knew about wine. He knew about food. He knew about art. He knew about classical music. He was interested in things.
I always expose the apparatus. I show how the film was made. I acknowledge the filmmaker and the filmmaking.
I didn't go to film school; I studied fine art - I learned how to be a filmmaker on everybody else's money.
I knew nothing about the independent film industry. I didn't know much about the industry itself. All I knew was how to watch movies, how to enjoy them, how to hate them, how not to like them.
By the time I got to the Fox studio for my first major film, I knew how to hit a mark. I knew how to memorize lines. I knew how to pay attention.
[ Blue is the Warmest Color ] was really a film about two people having to go through a relationship which everyone knew would lead to a breakup and the pain that that entails. Anybody can see that story, what leads to that, and identify with it. As a filmmaker, I wanted to construct this identification process with the characters so that you fully connect to their emotions and what their breakup [represents].
I'm interested in how identity is transient. How do we know who we really are, when different situations and environments dictate how we behave? I'm interested in the role we all play. We spend our whole lives becoming ourselves when we are born as no one else.
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