Top 967 Filmmaking Quotes & Sayings - Page 14

There are things to love about filmmaking in Greece. People are generous: If you get along well with others, the people around you will give more than they might otherwise be willing to give, more than they're supposed to.

The big studio era is from the coming of sound until 1950, until I came in... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.

The MeToo movement has made everyone more professional. The trashy aspects of filmmaking are now eliminated. There is certainly fear and caution among those men who think they can get away with any behaviour. At the same time, we have to be careful about not overdoing the enthusiasm of the MeToo movement.

My own ambitions were eclectic. My father ran a steel plant, and I was expected to study metallurgy and end up at the steel plant when I finished high school at age 15. Despite my proficiency at science, I decided against it and instead went on to study filmmaking.

People should be good, established people; the filmmaking and acting experience should be heartening. So I chose films where I would get a good experience, not just great roles.

I really dont feel like Im in any kind of contest. Except, maybe, with myself. Just want to learn and create and grow. Get better all the time with these filmmaking tools. I dont expect perfection from myself. Just progress.

I get rejections from the New Yorker. When I had to give a little talk to the people graduating from the MBA program at Columbia who were going into writing and filmmaking and everything, I said, "When I tried to think of what to say, the only subject I thought was appropriate for people doing what you're going to do is rejection." That's what it's all about.

Hollywood industry people are very spoiled. I don't think they can adjust to the insane, no-money, super-hard working tradition of Japanese filmmaking. I don't think any American can go through that. They don't want to work more than twelve hours and they want Saturday and Sunday off.

I've always wanted to introduce hip-hop filmmaking to film. There's hip-hop art, dance, music, but there really isn't hip-hop film. So I was trying to do that.

I earn my living by teaching film, mostly filmmaking but also teaching courses on current cinema. I'm interested in movies. I hope that's not all I'm interested in. In that sense, it's maybe a little misleading. I don't expect to make another movie about films, but I may continue to write about them.

Filmmaking is something that I'm really passionate about. Film, in general, is something that I'm passionate about.

Stories have tangents; they open up and become different things. You can still have a structure, but you should leave room to dream. If you stay true to your ideas, filmmaking becomes an inside-out, honest kind of process. And if it's an honest thing for you, there's a chance that people will feel that, even if it's abstract.

I thought there was a way of marrying what I wanted to do with filmmaking with pop videos, which I found out through a couple projects just wasn't possible. That's not saying anything about the artist. If you're making an Usher video, you're making an Usher video, not a film with an Usher song in it.

Nobody really truly supporting independent filmmakers anymore. It's just dire. There's a lot of bad filmmaking, and there's a lot of people worshipping some terrible filmmakers. It's a waste of all of our time, if you don't feel anything. We are an age of YouTube kids. We don't care so much anymore. It's all about marketing.

Filmmaking is essentially about entertainment, but it's amazing to realize that it has this other muscle that could actually help. Do you know what I mean? People permit entertainment to wash over them, but every once and a while, entertainment - and this is entertaining - also galvanizes something else and that would be a really good thing to have happen in this case.

Now with the international space station generating a bunch of video, and Space X and other companies pursuing private space flight, I think it's on all of our radars much more than it has been since the moonshots. The science of filmmaking is making these visions possible now.

Some men don't gel when it comes to work - you have different work ethics, different opinions, different points of views, different methods of filmmaking - and we didn't gel.

What I realized is that it doesn't matter how big or small your film is. The actual filmmaking process, the actual storytelling, it's still the same thing. It's still all about creating characters that you like and creating moments that get you excited or get you tense.

I never fought, I never learned kung fu or boxing, I never went into these sportif competitions. I wouldn't cross the ocean. I think it's ridiculous to take such risk. But look, people love to do that. But I was not afraid of doing things I wished to do. I did not think that woman would be restrained. I never saw that, especially not in filmmaking, where you don't have to be strong.

People ask me about 'The Hurt Locker' a lot, and it's an incredible piece of filmmaking - as are 'Band of Brothers' and 'Platoon' and 'Full Metal Jacket' and 'Apocalypse Now.' But they're not necessarily true to war in a literal sense. What they are, really, are brilliant movies about Hollywood's idea of war.

I like the feeling of making things. It's very very rewarding. And filmmaking is that type of experience, where you're forced to collaborate with so many people. You're involved in the beginning to end, you're involved with so many elements, and when it's done, you're like, 'I made this movie.'

'Sicario' was successful, but it was successful because Denis and the producers were, you know, they were very lean. It was very lean filmmaking.

'Your Name' is a film created with the innate imaginations of a Japanese team and put together in a domestic medium. When such a work is imbued with Hollywood filmmaking, we may see new possibilities that we had been completely unaware of - I am looking forward to the live-action film with excited anticipation.

I intend more of a kinship with silent films than more modern film. I like the old cinema. My films are more of a hybrid - a different style of filmmaking to what I call talking head movies. Some people don't get it. Especially the more academic types.

I think I veered towards filmmaking because there's more of a sense of control in it. You're not waiting to be picked. That said, in film school I acted in probably 6,000 student films because no other filmmakers knew anyone who wanted to act. It was all a big beautiful snake eating its tail, progressing along the way.

If you want to be a rock star, you're not going to just walk on stage. You gotta go practice in the garage until your fingers bleed. I always say that - the same with writing and the same with filmmaking - if it's really your passion, you've just got to stick with it and do it.

Everyone loves the seventies because that's when movies were character-based, and you saw great characters and you saw very interesting filmmaking. There are interesting movies being made now, but it's harder and harder to make them.

When I was a kid, I was always going to bed creating a story and that was the birth of filmmaking for me. I would like going to the dream-state by telling the story to someone else in my mind. That was my imaginary friend; it was an imaginary audience listening to my story.

When I was a kid, I was always going to bed creating a story, and that was the birth of filmmaking for me. I would like going to the dream-state by telling the story to someone else in my mind. That was my imaginary friend; it was an imaginary audience listening to my story.

They [academy writing programs] have no concept that the world has changed, that publishing has changed, that filmmaking has changed, and if you're not constantly looking at your education model and adjusting for the change, you'll find yourself teaching antiquity. Like all of these programs that won't accept students who are writing genre fiction - what an institutional ego!

I try to just focus on what feels right to me when I am conceiving it, conceptualizing, designing, etc. and then talk it through with the team and listen to what they have to say. This kind of thing is a team effort, and working with a great team is the most important part of filmmaking for me.

The big studio era is from the coming of sound until 1950, until I came in ... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.

When you decide you want to make a film, you start listening to everything that anyone has to say about filmmaking and reading everything, and there's a maxim about film being a visual medium, and so you need to make, in a sense, a silent movie and layer on dialogue.

I'm doing a lot of research right now on what's happening in Arizona. That's where I'm at with more conventional documentary filmmaking. I think it is an urgent cause. I think I need to make something. I'm a part of it. Everybody's a part of it, and this country needs to know what's happening there in a very truthful way.

After working for a while, I realized that acting was only satisfying about 30 percent of what interested me about the filmmaking process. Somewhere around age seventeen, I started to realize that if I'm very particular about the people I work with, then I can have the best sort of master class possible.

I think that directing is the ultimate martyred task of filmmaking, that it has nobility to it. It takes three years to make a film, for the most part. I think it requires the attentiveness of a mother hen. I don't know how people raise children and direct films. I'm sorry, I don't know, how can you be good at both?

Filmmaking isn’t if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it’s about. It’s not just about getting a performance. It’s also about the psychology of the cinematic moment, and the psychology of the presentation of that, of that window.

Leni Riefenstahl was the one person Goebbels had no control over in the filmmaking community of Nazi Germany, and they despised each other. But because she was Hitler's favorite, she could do what she wanted. She was the only filmmaker that did not have to cow down to Joseph Goebbels.

I was going to go to a four-year college and be an anthropologist or to an art school and be an illustrator when a friend convinced me to learn photography at the University of Southern California. Little did I know it was a school that taught you how to make movies! It had never occurred to me that I'd ever have any interest in filmmaking.

My understanding of films was just as much as any young girl who watches Bollywood films. I had no idea about the whole process of filmmaking, about dialogue writing, scripts, screenplay etc. I had probably gone to two or three film shoots in my childhood.

Saturday Night Live is such a comedy boot camp in a way, because you get to work with so many different people who come in to host the show and you get thrown into so many situations and learn how to think on your feet, so filmmaking actually feels slow, in a good way.

Everything about filmmaking is incredibly weird, and there's nothing natural about watching yourself on the big screen or hearing your voice. It's that same thing that you feel when you watch yourself on a video camera and you hate the sound of your voice - it's that times 800.

Docs are more exhausting because of the physical labor that's required. Feature filmmaking is more exhausting because of politics and the bullshit. You get to the point of rolling film and until you lock picture it's one political game after another. They're both struggles for survival. They are two different worlds.

My first teacher was Steven Spielberg. I worked on Amazing Stories. That was my first job, as a writer and as a story editor. Watching him and his command of the tools of filmmaking, and his admiration for writing and the story itself, was the greatest lesson I ever had.

I've been told that some guy wrote something like, 'Andy Serkis does everything, animators do nothing.' Of course I never in a million years said that, wouldn't ever say that. It's not within my understanding of filmmaking to ever say anything like that.

That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.'

It is not only my dreams, my belief is that all these dreams are yours as well. The only distinction between me and you is that I can articulate them. And that is what poetry or painting or literature or filmmaking is all about... and it is my duty because this might be the inner chronicle of what we are. We have to articulate ourselves, otherwise we would be cows in the field.

I really took filmmaking very seriously... It was an honor and then a crutch also, because at a young age, I was like, I guess I'm a serious filmmaker. I never set out to be a serious filmmaker. I just set out to make movies.

Making music videos, I try to bring musicians into the logistics of filmmaking, and I try to preserve whatever's of value and achievable in their idea. If it's something I can't achieve, I tell them straight. You want to make sure that the artist really loves the idea and is committed to it, otherwise they're not going to feel great when they're up there miming it.

I don't want to plan my career. That would be a business plan. Filmmaking is not a business plan.

I just really love producing. I love being able to be part of a solution. I love being able to create opportunities for other people to do what they do, to be part of the collaborative process that is filmmaking and television making.

Filmmaking is hard. I mean, it's not that hard, but it is hard to find your way through a system because there's a lot of people, there's money, there's a big machine to kind of make it - and how to find methods and processes that allow it to continue to be a lively process and a creative process.

Of the hundreds of points to enter and exit that are offered to me, I have to choose the one that I feel is the least wrong, the least fake. It is fake, it is a moment that I choose to erupt the story, but I make it as smooth as I can. What enables me to do it is the skill of filmmaking.

The White Palace was pretty impressive. Very impressive, in fact. The day to day running of the set was everybody showed up for work. They are seasoned filmmakers over there. They have an infrastructure for filmmaking, which is very healthy. It's small, but they were tenacious, polite, timely.

I always wanted to live in L.A. The other thing that always inspired me was movies; that's why I'm here. I always wanted to be a part of the movie business and make movies. That's why I went to AFI grad school for filmmaking.

Hrithik is a great help to me while I compose the music for our films. He gives his inputs to us. He sits with me and learns a lot about music too. He is very fond of learning and very involved in the filmmaking process.

It was seventh grade or something like that when we started falling in love with stuff like Sam Raimi and Wes Craven and John Carpenter. Also, our filmmaking skills were getting a little more polished, so we thought we could actually make something that was not funny.

Acting is always at the core of my life, but I'm also excited about producing. I'm excited about directing, and I have a life in the filmmaking world, and so I want to explore all aspects of it, not just the acting, but acting is the root.

Filmmaking is always about keeping the right distance, and it's always a struggle. You struggle for more access. It's a little bit of a seduction process, trying to get more access.

Sometimes the theme of the film is something that comes down to the way you designed the film - that you're saying something about the world. And it's one of the things that I think animation can do, in a way that other forms of filmmaking can't do. Because every single thing you see has got to be designed and created.