We don't make movies to make money, we make money to make more movies.
I don't like to talk about messages so much with films simply because it's a little more didactic. The reason I'm a filmmaker is to tell stories and so you hope that they will have resonance for people and for the kind of things you're talking about.
Because I'm a filmmaker at heart, I know a villain can't be too humanized and the audience can't empathize with him too much.
A viewer as opposed to a filmmaker might see a film differently. But I'm extremely comfortable with my style.
I was as equally influenced by Bergman as I was [low-budget sexploitation filmmaker].
As a Black woman filmmaker I feel that’s my job: visibility. And my preference within that job is Black subjectivity. Meaning I’m interested in the lives of Black folk as the subject. Not the predicate, not the tangent.[These stories] deserve to be told. Not as sociology, not as spectacle, not as a singular event that happens every so often, but regularly and purposefully as truth and as art on an ongoing basis, as do the stories of all the women you love.
I keep trying to train myself to stop saying 'filmmaker' and start saying 'storyteller.' We're telling stories.
If you're a fan of American roots music, you won't want to miss 'Awake My Soul--The Story of the Sacred Harp.' Filmmakers Matt and Erica Hinton have done a fine job capturing the history, sound and spirit of this unusual but compelling art form that, trust me, you don't have to be religious to appreciate.
I'm more influenced by novelists than I am by filmmakers.
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 think the reason I was able to get the jobs I did is because I worked for some very strong, self-possessed filmmakers who wouldn't listen to the executive-suited wisdom, and they believed in me from director to actor. Not from salesman to commodity.
It amazes me that filmmakers will still film, and audiences will still watch, relationships so bankrupt of human feeling that the characters could be reading dialogue written by a computer.
One hopeful sign that the filmmakers can learn and grow is that the sequel does not contain a single pie, if you know what I mean.
I consider myself more of a film fan than a filmmaker, or I guess it's kind of a balance, fortunately. But I really want to see good movies as much as I want to make good movies and I want to see bizarre movies as much as I want to make bizarre movies.
For me, it's always filmmaker and then character and then story. They're all equally important but if you don't have a great filmmaker, you will not have a great film unless you just get lucky.
For me, whether or not a film has some kind of massive budget or is an independent film, or however it's getting made, it's always about the filmmaker and, hopefully, being a vessel for the filmmaker's vision. That's what really attracts me to projects.
I love talking about acting. I'm just such a fan of actors and filmmakers, and I try to choose roles where I get to talk to great actors about acting and learn.
My interest in painting is recording things. I think of myself as almost a documentary filmmaker... I've gotten into some curious situations.
From where I sit I see the digital cinema creating sloppiness on the part of filmmakers because they know if they really get in trouble they can fix it later. So they don't pay that much attention, and of course it costs a lot of money.
Dancer, bride, runaway wife, radical filmmaker and pioneer - Shirley Clarke is one of the great undertold stories of American independent cinema.
I decided to be a filmmaker between my sophomore and junior years at Morehouse. Before I left for the summer of 1977, my advisor told me I really had to declare a major when I came back, because I'd used all my electives in my first two years. I went back to New York and I couldn't find a job. There were none to be had. And that previous Christmas someone gave me a Super-8 camera, so I just started to shoot stuff.
I'm an independent filmmaker with complete creative control of my films. I hire who I want. I have final cut. But at the same time, I go directly to Hollywood for financing and distribution. I find it's best for me to work within the Hollywood system.
I'm actually a huge fan of digital as well. I appreciate how that technology opens the doors for filmmakers who never had access to that level of quality before. However, I do think film itself sets the standard for quality. You can talk about range, light, sensitive, resolution -- there's something about film that is undeniably beautiful, undeniably organic and natural and real.
Look at the people who are coming to television Ridley Scott, Ang Lee or Guillermo del Toro - all these great filmmakers - actively put themselves back into TV. That's because the environment is very encouraging for bold storytelling, storytelling that you've never seen before.
What is my intention being a filmmaker? To make as much money as possible, or get as much attention as possible? It's not really either of those things. Now I can tell the stories that I want to tell.
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