I would not describe myself as a left-wing filmmaker. I don't think this is the first thing that would pop into my mind when talking about my work.
I think [ Lars Von Trier] is a fantastic filmmaker. No question. You've got to be ready for him. He's sharp and he's got a sharp tongue and I love that. He doesn't mind it back.
What you hope, what you're trusting the filmmaker to do, is to capture the emotional truth of the situation.
The filmmaker is not telling you what to think.
If you want the film [La La Land ] to represent all things jazz, it does not. You'll be disappointed by that. But, if you just see it as one guy's point of view, one filmmaker's point of view, and one story among many stories that can be told about jazz, then it's not as much of an issue.
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 still consider myself to be an amateur filmmaker. And I say that because in the Latin origin of the word amateur is the word love, and it's love of a form, whereas professional implies something you do for money or for work.
The filmmaker Amos Poe was a huge inspiration for me by making guerrilla-style punk films on the streets of New York and - well, it's just a lot of painters and artists and filmmakers all within that scene, and it's very, very important to me.
When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story, the story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I'm struggling with - my own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.
One thing we haven't mentioned is something everyone should understand very clearly. Look at the budget that was invested in 'Avatar': who in China has that kind of money to spend on making a movie? So we as Chinese filmmakers should work together to make Chinese movies that can compete as best we can for Chinese audiences, not make lousy movies, but make the best we can for that audience. Concentrate the money, the talent we have on making good movies [for China].
I talked with [ Blair Macon] a lot. I always like to come up with it - sometimes the filmmaker is not into it at all.
[Sundance is] giving people a chance - many first-time filmmakers. It carries that weight - if you bring something here, people connect with it and it can launch a career.
Over the course of my career, I've had the great fortune of working with some incredible filmmakers who have protected me and inspired me and taught me what an honor it is to work in film.
When I first saw a White Dutch person dressed up as Black Pete, I was both sickened and shocked. It's hard to stand next to someone who views your skin color and hair as a costume. As a filmmaker, whenever I get that feeling, I want to explore what motivates people to engage in such offensive behavior and enlighten folks about its origins.
When I have a writing workshop, I like to have people that are anthropologists and people who are poking around in other fields, I like to have them all in the same workshop, and not worry about genre. I like to mix it up, because the kind of comments you can get from a fiction writer about your poetry are going to be very different than what you'll get from a poet. Or the comments you'll get from a filmmaker about your performance are going to be very different. My writing workshop is about mixing it up, cross-pollinating, not only in genres but in occupations.
I feel like God has intrusted a lot into me and I don't want to sit on it and be selfish. I want to think long term on how we can help this next generation of Christian filmmakers to make a big impact for God.
A good filmmaker is someone who can look at a piece and go, "This camera's really going to be a character. I want people to feel like they're being punched."
Maybe today I would call Fred Leuchter and there would be two or three other documentary filmmakers interested in his story simply because of the exposure.
Long, long before I became a filmmaker I was talking to killers. Filmmaking was an after thought.
For a lot of filmmakers, their first goal is to be successful and make some money. But once people start doing that, the real goal is then to win an Academy Award. Because when they do, they know that their obit is going to start out, "Academy Award winner so-and-so."
For me, as a documentary filmmaker, I'm interested in telling stories of real people whose experiences tell us something about ourselves or our history, or who we are and our potential.
I'm a documentary filmmaker, so often I'm in the position of talking to people who are sharing stories that are critically important to share, but often difficult to share at the same time.
One of my beliefs as a filmmaker is that if you can make somebody laugh, you can make them listen. With laughter, you can get somebody's guard down, you can open them up to listening to you. They don't feel like they're being preached to or talked down to. I think it helps, it makes really hard to understand information a little more accessible and palatable. And at the end of the day, it makes a movie a little more fun. It doesn't feel so heavy handed.
Honestly, I'm a firm believer in the next generation of filmmakers. It's very important to keep things fresh, new, current. They have a pulse on what's important today.
I do not think that my films or films by any other filmmaker represent "THE TRUTH." I do not feel the need to categorize my films or anyone else's.
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