A Quote by Woody Allen
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.
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My favorite filmmaker is Frank Capra. He talked about the redemption of the human spirit - not the superhero, but the common man.
What I have learned first and foremost is to follow your instincts. As a filmmaker, there are no rules as to how to play this game. That is a big problem I think that exists in the education on how to be a filmmaker or how to make movies.
We've been fighting our whole lives to say we're just human beings like everyone else. When we start separating ourselves in our work, that doesn't help the cause. I've heard it for years: 'How do you feel being a black filmmaker?' I'm not a black filmmaker, I'm a filmmaker. I'm a black man, I have black children. But I'm just a filmmaker.
Some black filmmakers will say, "I don't want to be considered a black filmmaker, I'm a filmmaker." I don't think that. I'm a black woman filmmaker.
I'm a film director. Gay is an adjective that I certainly am, but I don't know that it's my first one. I think if you're just a gay filmmaker, you get pigeonholed just like if you say I'm a black filmmaker, I'm a Spanish filmmaker, I'm a whatever.
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.
John Lee Hancock is someone that I had admired from afar. I think he is a wonderful director... in the tradition I would say both of Clint Eastwood and Frank Capra.
You would assume that a filmmaker should know how to edit, but pretty much every filmmaker I've worked with doesn't know how to edit.
The digital revolution has had a democratizing effect. Now anyone can be a filmmaker, but to be a good filmmaker is as hard as it ever was.
I never intended to be a documentary filmmaker. I think I became a documentary filmmaker because I had trouble writing, and I had trouble finishing things.
I went to visit Frank Capra, one of my idols, and did a kind of Judd Apatow interview with him. I said, "I'd like the Statue of Liberty to disappear, but I want to do it as a lesson in freedom, how valuable freedom is and what the world would be like without liberty." And Frank Capra looked at me and said, "David, I love your idea, but here's what you're going to do. You're going to try and it's not going to work; it's not going to disappear." And I said, "Mr. Capra, I can't do that."
As a filmmaker, I want to be known as a pan-African filmmaker and this is because I think that we have more to gain as Africans than as individual countries.
Alejandro Amenábar is a very interesting filmmaker. I had really liked The Others, which was a movie he made with Nicole Kidman a few years ago. He made a very compelling case about how much he wanted me to be in this movie. Whenever a really passionate, talented filmmaker seems to have an interest in me, I take it very seriously because I like to work.
Well I don't think of myself as like a horror or science fiction filmmaker. I just think of myself as a filmmaker.
I think we're used to the black filmmaker coming in and making the all-black subject matter. Especially at Sundance, they're looking for that. It's funny because amongst my filmmaker friends talk about this.
With filmmaking, I for so long was like, oh, I need permission to go out and be a director and be a filmmaker. And I read Robert Rodriguez's 'Rebel Without a Crew.' He just went out and did it, man. In his book, he even says just put your name on a business card and say you're a filmmaker. Congratulations, you're a filmmaker.
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