Top 1200 Young Filmmakers Quotes & Sayings - Page 2

I think that if we really want to break it down, that non-black filmmakers have had many, many years and many, many opportunities to tell many, many stories about themselves, and black filmmakers have not had as many years, as many opportunities, as many films to explore the nuances of our reality.

Sarah Michelle Gellar's made some really good choices. She's had some bad breaks. She goes with the independent, interesting young filmmakers and then they get slammed, like 'Southland Tales.' I'm proud of what she's trying to do. It's hard.

I think journalists and filmmakers are keen observers. And actors must also be sharp observers as they draw their characters and their stories from what they experience around them. After all, that is what actors, filmmakers, journalists are trained to be: observers. And then they do something with their observations.

A young artist can become popular more quickly with the Internet providing instant access to ones work. That might lead to more opportunity and an accelerated career. But it seems as if funding may be harder to come by and filmmakers are being prompted to give away their work for free in hopes to become part of the conversation.

Television and cable have become the new independent films, in a sense, for writers and actors to gravitate towards. That's why I like short films, too; I love doing readings, audio books, working with young filmmakers; anything that keeps you from getting blase about yourself or in a rut.

It doesn't matter if you're the smartest person in the room: If you're not someone who people want to be around, you won't get far. Likewise for helping those in line behind you. I take seriously my role as a mentor to young female filmmakers - I make sure my time is tithed.

There are no silos at 'Frontline.' Our digital team works with our filmmakers, and our filmmakers work with our digital team. They're always in touch, and they're always talking.

As for major obstacles keeping young Latinos from becoming filmmakers, I think our communities are still coming into their identities as storytellers. It's such an important identity to reclaim - it's how our ancestors kept our cultures alive. But a long history of silencing, invisibility, and marginalization has kept generations of Latinos from believing in themselves, from seeing themselves as agents of their own lives. I think there needs to be a focus on this aspect to help cultivate young Latinas to see themselves as cultural producers and defenders.

The film argues to the young that the old were young once, too, and contain within them all that the young know, and more.

I was a member of the young liberals, the young conservatives, and young Labour, according to who gave the best parties.

The younger generation forms a country of its own. It has no geographical boundaries. I've talked with young Hungarians in Budapest, with young Italians in Rome, with young Frenchmen in Paris, and with young people all over. ... These young people are going to do things. They are going to change things.

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.

Passion is a young man's game. Young people can be passionate. Older people gotta be more wise. I mean, you're around awhile, you leave certain things to the young. Don't try to act like you're young. You could really hurt yourself.

There's a young man hid with me, in comparison with which young man I am a Angel. That young man hears the words I speak. That young man has a secret way pecooliar to himself, of getting at a boy, and at his heart, and at his liver.

I always tell young filmmakers, don't go make a feature. Make a short. When you're ready to make a feature, people will tell you. Your friends will tell you. Your fans will tell you. Festivals will tell you. Listen to your audience.

Tribeca Film Festival Doha will promote Middle Eastern themes and filmmakers, but not exclusively. Approximately 40 films will be presented at the new Museum of Islamic Art and in cinemas across Doha. Innovative work by established filmmakers will be shown alongside the debuts of newly discovered directing talents.

The movie studios, they only like to make - I make a joke, but it's true - if the movie has the word "man" and a number in the title, they'll make it. If it doesn't have that, it's an R-rated raunchy comedy, and that's it. Any other movie that you're going to make is going to be an independent one. So for filmmakers who want to do something other than "man" and a number, it's either independent films or television, which is like the place for real creative filmmakers to go.

I like filmmakers where, if their film comes on and you step in halfway through it, you can recognize that, hey, this is a Coen Brothers film. Or, hey, this is a Stanley Kubrick movie. You can recognize some filmmakers. Like, if you put on a Sam Raimi movie, you can tell that it's a Sam Raimi movie pretty quickly. I like a signature style that people can recognize and relate to, and connect with. I think that is part of why we seek out certain directors. We want to see how they view the world.

I am fond of depicting the lives of young folks for one thing, and if you have parts for girls or young men, you must absolutely have young people to fill them - that is generally acknowledged now.

We also want to invest in the next generation of filmmakers. There have been hundreds of these filmmakers that have called us saying "Can we intern with you? Can we mentor under you?" And we want an opportunity to do that, as well. So, for those two reasons, we talked with our pastor and he gave us his blessing to kind of launch out and grow the movie ministry that we have.

I think women should support each other's work, encourage each other's work, help develop each other's voices and I think, ultimately, when we can stop having the conversation about 'women filmmakers', and just talk about 'filmmakers', then we'll know we've really gotten somewhere.

Hal Ashby is one of my favorite filmmakers.

I like to work with artists from around the world. There are so many new inspiring filmmakers. I had the privilege recently to work with Ethiopian filmmaker Zeresenay Mehari and his wife on the film Difret. They are that unique balance of very thoughtful conscious filmmakers who are also brilliant, original artists.

It will be very exciting to watch how the industry responds to filmmakers getting closer and closer to their audiences - and they must, as for too long it has been quite impossible for filmmakers to actually get anywhere near to revenues arising from their work. Too many middlemen!

What I would say to filmmakers, if I may be so bold or so arrogant, is to draw inspiration from other filmmakers, but go to the place in your own gut where everything is nothing. That's a very Zen thing to say, but that place of nothing is where real creativity comes out of.

When I was a young filmmaker starting out, I was really snobby about all the affirmative action for women filmmakers because I felt it should be about your talent, and I made a film that won awards, and people wanted me.

In Hitchcock's movies you can see the storyboards and that's cool. It's nice to see a filmmaker be that prepared. Most filmmakers today have their heads up their ass, they're not nearly that prepared. He obviously had a right to say this is what I want and this is how we're doing it, because he was ready. Some filmmakers show up on the set and they don't know what they're doing. So then everyone has ideas and that makes a bad situation too. Be a director who's completely in control and yet no one knows it.

Two things - one is obvious: always keep making. The second thing, with regard to music videos specifically - the music video industry can be a place that takes advantage of young freelancers and filmmakers. Make sure you're making stuff that you're proud of and you can get behind.

Also, to get to work with serious filmmakers on this kind of a movie, has elevated these movies. We were so lucky, as actors, that the crew of directors that we've gotten to work with are totally really super high-end filmmakers. But, Bill Condon had a vision and it was so specific. He's really passionate. I think he's taken the story to another level.

Even very recently, the elders could say: 'You know, I have been young and you never have been old.' But today's young people can reply: 'You never have been young in the world I am young in, and you never can be.' ... the older generation will never see repeated in the lives of young people their own unprecedented experience of sequentially emerging change. This break between generations is wholly new: it is planetary and universal.

It's said that if two documentary filmmakers meet they talk about the world, if two fiction filmmakers meet they talk about the million that they don't have to make their film.

We're not encouraging idols other than on the TV show, you know and that's the wrong way to do it. If we had become famous from a contest show we'd be embarrassed in my generation. But if that's the benchmark then I thought well young people who want to be filmmakers, or musicians, or whatever are screwed. But maybe they're not because what they're doing is they're creating their own thing.

I am not and will never again be a young writer, a young homeowner, a young teacher. I was never a young wife. The only thing I could do now for which my youth would be a truly notable feature would be to die. If I died now, I'd die young. Everything else, I'm doing middle-aged.

I get to work with incredibly talented young filmmakers and students, and their attitudes and relationship with film is still so pure. That re-inspires me and reminds me why I got into it and what I love about film, and allows me a little reprieve from the business side of it. And it rekindles my love of film.

I made a lot of mistakes along the way, but feel incredibly lucky to be in the position I am now and to be able to play a small part in trying to support talented, aspiring young filmmakers out there through a program like 'Interpretations' who, like me, had the desire and passion, but no connections to the industry.

Some are bound to die young. By dying young a person stays young in people's memory. If he burns brightly before he dies, his brightness shines for all time.

If you deconstruct the movies that have done well, Pixar-type movies that do incredibly well and make hundreds of millions of dollars, they have a strain of decency and conservatism that maybe even their filmmakers don't even recognize. Yet, we cross our fingers that by mistake, liberal filmmakers and liberal producers are going to by mistake make conservative movies. We have to become invested in it, or else we have no excuse to complain.

I don't like every other musician's work. The same way that filmmakers don't like every other filmmakers' work. Just because I'm a feminist doesn't mean I'm gonna say that I like every other woman's work, or that I appreciate another statement that another woman publicly made.

I love filmmakers.

I think filmmakers all secretly wanna be musicians and all musicians secretly wanna be filmmakers.

My thing is you just have to try to feel young and stay young. Obviously you get a little older, but I still want my music to be young. I don't want to sound like an old dad onstage, so you just have to write music that sounds young.

When I see a lot of young faces in the audience, it's just sort of sinking in how important that is. Because you're old enough now to identify them very strongly as being young - whereas before, of course they were young, because you were young. Now it's not like that.

We've always wanted to be filmmakers.

True change is a long game, and it remains to be seen if this is change. We've had years before where there have been great years for filmmakers and performers of color, LGBTQ filmmakers and performers, women.

I don't try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers. Many filmmakers have made resurgent work, and I was just a little ahead of the time.

Most, especially the young filmmakers, do not see strength in communal or collective existence. They just think they're going to conquer the world as individuals. There is no world like that. In cinema it's always, even in Hollywood, a collective surge.

I think the thing about film is, as it gets proved by a lot of young filmmakers now, that the medium will just go on reinventing itself, and so you just hope to be a part of that and not a part of some kind of endless regurgitation or 'Here I am doing what you know I do' kind of thing.

Young men can be impetuous, young men can be rush, young men can be fools, but the Car'a'carn cannot let himself be a young man.

We are not documentarians, we are filmmakers.

One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.

I'm at a weird spot because I look so young and I feel young, but I'm not young.

The filmmakers that I studied and appreciated growing up are the ones that are able to dictate their vision clearly to each department, and they know the language of how to communicate with each department well enough, so that their vision is clearly transferred to the screen. So I like to spend time on sets learning from all of the departments and seeing how they approach their jobs. It's not just filmmakers, you know? There's so many mediums involved. I love learning about all of the mediums.

The motive behind a Delhi Film Council is simple - with so many filmmakers coming to Delhi to shoot their films, casting Delhi's young lads in their movies and even keeping the city as the base of their story, they surely need more collaboration in future. When they'll have such a council in the city, they will be able to work better.

Roger Ebert was such a champion of underrepresented filmmakers. He was a very big deal to me. It shows the power of critics. People who write about film, like you, can really affect the confidence of a young filmmaker. He did that for me, so it was such a pleasure to have an opportunity to talk about Roger in the movie.

You love young ones and babes, I know this. The young will always befriend and admire you...all the young ones of the earth belong to you in friendship. Be good to them. —Breeze, to Sunflash the Mace

I think we've faced all the typical challenges that young filmmakers go through over the years - time, money, negativity - but it's a lot easier to manage when you can learn from and laugh about all those mistakes and anxieties with your best pal.

When I was a young man, my friends and I and all of us in New York were very influenced by French cinema. French cinema played an enormous influence on those of us who wanted to be filmmakers.

Scarlett tells Mammy: "I'm too young to be a widow." She weeps to her mother: "My life is over. Nothing will ever happen to me anymore." Her mother comforts her: "It's only natural to want to look young and be young when you are young."

It's probably unprecedented for a filmmaker simply to take the writers' script and treat it as the instructions on the package. What really happens is you pretty much suppress your own instincts - and your own views on the matter - and write things the way filmmakers would like to have them, though the filmmakers often don't know what they want. They can only find out by reading what you do.

When you're talking horror or sci-fi, you're working in a genre that has loosely certain thematic elements, or, you could even call them rules. But rules are there to be broken. I think that young filmmakers should go all the way back to the history of horror, from silent films like "Nosferatu", and through to today's horror films, so they understand the history of horror films and what has been done. Understand that, and then add something new or original.