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.
A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.
A film is - or should be - more like music than like fiction.
I love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit.
The best education in film is to make one
One man writes a novel. One man writes a symphony. It is essential that one man make a film.
Anyone who has ever been privileged to direct a film also knows that, although it can be like trying to write 'War and Peace' in a bumper car in an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling.
I'm happy - at times - making films. I'm certainly unhappy not making films.
The reality of the final moment, just before shooting [the scene], is so powerful that all previous analysis must yield before the impressions you receive under these circumstances, and unless you use this feedback to your positive advantage, unless you adjust to it, adapt to it and accept the sometimes terrifying weaknesses it can expose, you can never realize the most out of your film.
Bad films gave me the courage to try making a movie
Some people demand a five-line capsule summary. Something you'd read in a magazine. They want you to say, 'This is the story of the duality of man and the duplicity of governments.' I hear people try to do it -- give the five-line summary -- but if a film has any substance or subtlety, whatever you say is never complete, it's usually wrong, and it's necessarily simplistic: truth is too multifaceted to be contained in a five-line summary. If the work is good, what you say about it is usually irrelevant.
Critical opinion on my films has always been salvaged by what I would call subsequent critical opinion.
When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.
From the very beginning, all of my films have divided the critics. Some have thought them wonderful, and others have found very little good to say. But subsequent critical opinion has always resulted in a very remarkable shift to the favorable. In one instance, the same critic who originally rapped the film has several years later put it on an all-time best list. But of course, the lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have.
I've never achieved spectacular success with a film. My reputation has grown slowly. I suppose you could say that I'm a successful filmmaker-in that a number of people speak well of me. But none of my films have received unanimously positive reviews, and none have done blockbuster business.
You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point.
A film needs more than you can give it in a lifetime.
I haven't come across any recent new ideas in film that strike me as being particularly important and that have to do with form. I think that a preoccupation with originality of form is more or less a fruitless thing. A truly original person with a truly original mind will not be able to function in the old form and will simply do something different. Others had much better think of the form as being some sort of classical tradition and try to work within it.
I'm a slave to my imagination in terms of making narrative films.
The lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have.
It's a passion when you're doing it for other people and you're doing it for the people around you making the film and the people who are going to see the film, and the giving. When you start thinking about you doing it for some sort of self-gain, then I think it becomes an obsession. It becomes a negative experience.
The first really important book I read about filmmaking was The Film Technique by Pudovkin. This was some time before I had ever touched a movie camera and it opened my eyes to cutting and montage.
You're constantly changing man. But the film's not changing. The film stays the same. That's the beautiful aspect of it.
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