Top 1200 Young Filmmakers Quotes & Sayings

I've often thought even ragtag gatherings of documentary filmmakers are more fun than gatherings of fiction filmmakers.

I know many filmmakers, and shooting in IMAX is challenging. Filmmakers love the vividness and power of those big images.

You hear nightmare stories from young filmmakers working in Hollywood, being told what to do.

When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.

For young filmmakers, Saw is a perfect film. It doesn't cost the GNP of almost every country of the world.

Young filmmakers are supposed to be the young turks that advance the current state of filmmaking ideas.

To pretend like Hollywood is anything other than that is disingenuous. #OscarsSoWhite is trendy, but for women filmmakers and filmmakers of color, it's not a trend. This is our reality, and it's important that we do something to change it.

My Advice to Young Filmmakers is This: Don't Follow Trends. Start Them!

I go to conventions and universities and talk to young filmmakers and everybody's making a zombie movie! It's because it's easy to get the neighbors to come out, put some ketchup on them.

A lot of the surreal filmmakers, like David Lynch, Alejandro Jodorowsky, or countless other underground filmmakers... Their sense of explosive images have always dominated their films. It's a way to shock the senses, to make them open themselves.

Even before the economic crisis in Greece there was no structure for making films - no proper industry, and the structure didn't help filmmakers at all. So filmmakers had to help each other, and make very, very low-budget films. Now with the crisis, things got a bit worse, but filmmakers are still going to be making films. It didn't change that much.

I love working with young people and young filmmakers, and I love working on first films. I think it's cool. It's fun. I just take it as it comes.

As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.

It is an entirely selfish decision to turn producer because I want my kind of cinema to last and flourish, and helping young filmmakers make those kind of films is the best way to do it.

A lot of young filmmakers bring their movies to my dad because he always gives lots of good editing ideas and notes. He'd be a good film professor.

Whenever I can make it work out, and schedule permitting, I like to help young filmmakers.

We need more filmmakers of color telling the story. I'd like to see more filmmakers take their products out independently, put together a good commercial film and distribute it online.

While it is increasingly possible for filmmakers to find an audience on their own (something that is particularly popular amongst documentary filmmakers) I'm still a believer in the "specialist". By this I mean, I back myself as a filmmaker, but I leave the marketing and distribution of my films to the experts.

If Madhur Bhandarkar makes a movie tomorrow, people will expect him to do something like 'Chandni Bar' or 'Corporate!' Similarly, it takes time for filmmakers to break that stereotype and attempt something new - it is difficult for filmmakers to be versatile in Bollywood.

The economy is rough. I think that affects everyone from big filmmakers to tiny filmmakers.

I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.

So, the next film won't necessarily be modern-day Albany, Georgia but we're grateful for the films we've made (with Sherwood). The church is an amazing church. We're gonna grow as filmmakers and invest in the next generation of upcoming filmmakers and try to duplicate what we're doing.

It's a do-it-yourself kind of era with these pieces and bits of technology called iPhones. You can film your own stuff and throw it up on YouTube, I think is just a fantastic novelty and opportunity for young actors, young filmmakers to learn and hone their craft.

The filmmakers are very much in their own kind of bubble. It was kind of a revelation to me and I realized why so many of the great filmmakers are one of a kind people. You know, they have a vision. They may be influenced by other filmmakers, but they don't work with them on anything.

I want to see more young filmmakers, and specifically filmmakers who have a unique voice. I wouldn't mind seeing less of the attempt to force-feed people what others think they want, if that makes sense - whatever the formula is that some people seem to operate under, like needing a certain star, or needing a certain thing in order to get a piece made.

I love mentoring young filmmakers and girl filmmakers.

As it is, I'm happy that the tourism department has sent out word to agencies in Delhi asking them to help filmmakers whenever they want to shoot their film in the capital. At least, they are in favour of the filmmakers.

I find a lot of young filmmakers make too much of an effort to be trendy and they can be pretentious.

I'm influenced by a lot of filmmakers; I like English filmmakers because I feel a kin to them.

Male filmmakers only need to tap their female selves in order to develop their female gaze as many great filmmakers have done. But why is it important to do so? Because the world has been run by aggressive males and landed itself in a fine mess.

I always say that AMC hires filmmakers, and they let them be filmmakers.

I think independent filmmakers, documentary filmmakers - they are journalists.

When I do encounter young women or aspiring filmmakers who tell me that I've inspired them or that my work means something to them, that's amazing. That's really exciting!

Some young filmmakers, unfortunately, don't have the ability to resist attempts to maybe cut their films down unfairly.

There's a rumbling with young artists and young filmmakers that are dying to get different points of view, different stories, out there. It's all changing and happening and they're able to maybe not play their movies in theaters but get them on the internet. This is the new wave, the new world.

'Beyond the Lights' was my fourth film. I gained a lot of knowledge, and I'm excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of 'What's next?'

Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.

Showtime has given new, young filmmakers - black, white, across the board - an opportunity to make films, as well as actors who want to cross over into directing.

If the young filmmakers ask themselves enough questions and come up with enough answers and get the scripts tight enough.

The most difficult thing about music videos is that a lot of young filmmakers come into the medium, and they have so many different ideas, but they need to understand what the musician wants.

Men starting out have so many options of filmmakers to connect with artistically and be shepherded by and collaborate with. I just didn't have an older, more experienced me to help me. So I hope all the women making movies now are aware we have the opportunity to be that to new filmmakers.

I usually try to connect with young filmmakers over the phone so I can hear them and just pick their brain as to why they want to tell the story. And usually, I'm on board. I go, "Yeah, I'd love to help. And I just need to know why you want to do this,' and it's usually an easy process because a filmmaker usually reveals his or her heart in telling the story. And that's why I'm pretty much of a softy when it comes to helping along the young ones along the way.

I am delighted that young filmmakers want me in their films. They have open minds and a fresh take on old attitudes. I derive a lot of energy from them. Most of all, I find their love and respect utterly disarming.

I've seen so many young filmmakers - even professional filmmakers who get a Hollywood deal - they don't quite know where to begin, where to end, and they'll waste a lot of time making this perfect shot, an establishing shot, and then there's no time left to shoot the dialogue.

I think filmmakers, in general... There are some awesome, really great filmmakers - but on the whole, filmmakers, actors, I think they are the biggest bunch of whiny, over-paid babies on the planet.

Filmmakers are always in a bubble; along with our crew or writer, we don't really get to socialize with other filmmakers, so the great thing about Sundance is you can see many other filmmakers doing the same thing you do.

I can't wait for the rest of my career to meet these young writers and filmmakers so that I can produce and push a lot of their stories out there.

I don't like it when filmmakers say, 'Just come like this, sir.' I like to experiment with my makeup. I wish more filmmakers let me do that.

I think in general with micro-budget films right now, it's rough. The economy is rough. I think that affects everyone from big filmmakers to tiny filmmakers.

The Danish filmmakers are a unique breed of filmmakers, with the Dogme films and Lars von Trier.

I'm often asked by younger filmmakers, 'Why do I need to look at old movies?' I've made a number of pictures in the last 20 years and the response I have to give them is that I still consider myself a student. The more pictures I've made in 20 years, the more I realize I really don't know. And I'm always looking for something or someone that I could learn from. I tell the younger filmmakers, and the young students, that do it like painters used to do—that painters do—study the old masters, enrich your palette, expand the canvas. There's always so much more to learn.

The only advice I can really give to the young filmmakers is to be persistent, don't give up, and keep watching and making as many movies as you possibly can.

It is an honor for me to take part in Canon's Project Imagin8ion, partnering with a brand that is empowering young filmmakers and is at the forefront of technology.

You go to the movies to be transported. That's the responsibility of filmmakers and the people that hire the filmmakers - to try and find new dreams we can all share together.

In Mexico, there are good filmmakers, but they didn't always have the opportunity to show their work. But since 'Amores Perros,' many of these filmmakers had the opportunity to show their films, and they have a newfound energy for cinema.

I love independent films because I love to help, I love to assist, I love to pass along knowledge or experience to young filmmakers because usually, that's what they are. They're young filmmakers who are trying to either just simply tell their stories or trying to break into show business, and this is their calling card. But either way, I just really respect young filmmakers who are trying to tell a story that means something to them.

It's very difficult to figure out, for me, what stops really talented young female filmmakers from having the kind of careers that their really talented young male counterparts are having.

I think it's a mistake for young filmmakers to just buy digital equipment and shoot a feature. Make short films first, make your mistakes and learn from them.

'Hunger' definitely changed my life, in terms of being recognized by filmmakers, since that was very much a filmmakers' film.

Who are these people who are taking these decisions of casting only young actors in films? It is the filmmakers and the film producers. I don't know if that is what the audience wants because I really believe that masses respond to a good story.