A Quote by Vera Farmiga

You ought to have a perspective when you're making a film. — © Vera Farmiga
You ought to have a perspective when you're making a film.
Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
They ought to be focused on saving healthcare. They ought to be focused on making sure we don't privatize Medicare, Medicaid, and Social Security. That's where the Democrats ought to be.
The idea of watching an entire film basically from one person's perspective - and not even really from their perspective, but [it's] probably the most intimately shot film that's in any of these categories. If you're not familiar with Son of Saul, basically it's a film about a Jewish guy who's in concentration camp, but he helps dispose of the bodies after they leave the gas chamber. So, you watch the entire movie looking at Saul's face and looking at his interactions with people.
Whenever I'm in a film that's from a perspective that is dominant within western culture... I'm always trying to prove myself. When it's from a black perspective, I don't have to - they get it.
I need as much of the business of making a film to be in my own workspace. It really ought to be a bit more like doing a novel, alone, at first. I'm feeling my way.
Women bring a different perspective to the table, and lawmaking is a compilation of diverse ideas and views and perspective. And when you don't have that, you end up making bad laws.
There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.
The next film I'm making is a horror film, and I'm making it with A24. It's a dark break-up movie that becomes a horror film, set in Sweden. That's all I can really say now. It's called 'Midsommar.' Everybody's been spelling it wrong. It's 'midsummer' in Swedish.
The way you set up for a sequel is by having a successful film. The focus is on making a successful film, and making a film that travels around the world, and that people enjoy and have fun with, and that people are able to escape with.
The more I go on in this career of making albums, writing songs and playing music, the more I think of each album as a movie. I really wanted to make a film, but making a film is much more expensive than making a record.
Film festivals are important, as they often provide an opportunity to look at a film from a fresh perspective.
I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.
The core plot of 'Mercury' is so gripping that when I thought of making it as a silent film, it only made it more interesting. Once I finished writing the first draft, making a silent film that's both thrilling and engaging seemed possible. When the film team read the final script, they felt the same.
I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.
I made a lot of short films before making a feature film. Actually, I learnt film-making by making short films.
This site uses cookies to ensure you get the best experience. More info...
Got it!