A Quote by Wim Wenders
Filmmaking is really connected to life and all of the expressions that different arts found to allow access to life. Filmmaking touches on all of it.
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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.
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.
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.
My stated goal as a filmmaker is to feel something. Is to have a palpable emotion in my life, carry it through the gauntlet of the filmmaking process and try and have it land for an audience at some point during the viewing experience. That to me is successful filmmaking.
Loving photography and wanting to be a painter, it all ended up in the process of filmmaking. It's strange professionally be to connected because it connects you to architecture, it connects you to painting, it connects you to writers, to actors. It connects you to really all of the arts.
The documentaries were something that I could do for a small amount of money, and then I felt like as long as I found the truth in the stories I was telling as a doc, I could teach myself filmmaking through doc filmmaking.
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.
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.
With filmmaking in general, I have never absorbed the traditional knowledge of film history or filmmaking. It has always been just pick up the camera and go figure it out.
I'm not interested in being famous or anything, but I'm definitely interested in expressing emotions, and acting and filmmaking can be great outlets for that. Filmmaking is an incredible art.
I've learned a great deal about a certain type of filmmaking. But I have ambitions toward another type of filmmaking that I haven't been allowed to engage in yet.
We with Komplizen Film believe very much in the writer-director and in the freedom of a filmmaker. I think it's always good to be involved where you spend the money. Filmmaking, you see in the picture what the money's spent for. I never had to leave a phase of filmmaking before being really happy, and that was really a big luxury. That could happen, I think, because I am my own producer.
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.
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.
You know, when people talk about filmmaking and the techniques of filmmaking, we use them all the time in network television news in order to make our stories simpler, tighter and more understandable to the general public.
There are sayings and mantras that sometimes occur in filmmaking discussions, and one of them is that sometimes filmmaking is an olive branch or a reason or an excuse to be able to reach out and create an encounter with someone.
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