In movies, there are some things the French do that Americans are increasingly incapable of doing. One is honoring the complexities of youth. It's a quiet, difficult undertaking, requiring subtlety in a filmmaker and perception and patience from us.
I thing for female filmmakers a big issue is making their second and third films. You see the statistics, and the dropoff on the second and third [films] , are dire.
Filmmakers need to realize that their job isn't done when they lock picture. We must see our films through.
I didn't start out thinking that I could ever make films. I started out being a film lover, loving films, and wanting to have a job that put me close to them and close to filmmakers and close to film sets.
Movies become living organisms that graduate from a filmmaker's sphere of influence and pretty much look back and tell you how they need to be said goodbye to. A movie often turns around and looks at you and says, "Here is who I am, and that's maybe now how you see me, but that's who I've become." And you've got to be open enough to go with that.
I'd love to just think of myself as a filmmaker, and I wait for the day when the modifier can be a moot point.
Miss the audience's heart as a filmmaker, and the only wallet that gets hit will be your own. That's because the heart is always the first target in story telling.
I'm always cribbing from real life. I'm not a very creative filmmaker.
I'm a filmmaker. I'm an artist. I've chosen to work in history the way someone might choose to work in still lifes or landscapes.
When a filmmaker does not make films it is as if he is jailed. Even when he is freed from the small jail, he finds himself wandering in a larger jail. The main question is: Why should it be a crime to make a movie? A finished film, well, it can get banned but not the director.
What I learned is, don't forget who you are, because that's what's going to make you a filmmaker.
Chris Marker has a brilliant mind and heart and appetite for life, and it's a privilege to travel with him to whatever he chooses to remember and to evoke. He is one of cinema's all time greats - the most important reflective or non-narrative filmmaker after Dziga Vertov.
Perseverance has kept me going over the years. Things rarely happen overnight. Filmmakers should be prepared for many years of hard work. The sheer toil can be healthy and exhilarating.
I could be just a writer very easily. I am not a writer. I am a screenwriter, which is half a filmmaker... But it is not an art form, because screenplays are not works of art. They are invitations to others to collaborate on a work of art.
It's not a filmmaker's job to explain his technique but to tell his story the best way he can.
David O. Russell is probably my favorite filmmaker. He's not only a great director, but he's also a great writer.
For all filmmakers: True originality is the key, only direct your own unique movie scripts, be a megalomaniac and not give a damn.
The most successful filmmakers are not always the most knowledgeable ones. They are the ones who put action to what they learnt. They do, not talk about doing.
There's really no difference between what I do and what a male filmmaker might do. I mean we all try to make our days, we all try to give the best performances we can, we try to make our budget, we try to make the best movie we possibly can.
It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.
Unnamed entertainment industry moguls are now telling the New York Times that they intend never to work with Mel Gibson again. After all, how dare Mel Gibson challenge the public by producing a film that spurs public discussion, that pushes the envelope, that takes an old story to a new level. How dare Mel Gibson follow his own passion as a filmmaker. How dare he make $20 million on the opening day box office!
At first, I wasn't sure whether I'd be a critic or a filmmaker, but I knew it would be something like that.
I'm not a very efficient filmmaker. There's a lot of guys, filmmakers like the Coen Brothers who shoot a whole movie and maybe don't use 12 setups. I'm in awe of people like that; I'm just not that guy.
I'm very fortunate to have the privilege of working with directors like Bill Condon and Paul Thomas Anderson, who I think is one of the greatest filmmakers of our time.
I just want to work with good filmmakers and do good projects that mean something to me and play interesting characters. That's really it.
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