I think as a filmmaker you try not to have any expectations other than that the film have a fairly substantial beginning, middle and end.
The best filmmakers, I think, have always had very narrow frameworks for their stories, and then they can go deeply, rather than skimming the surface.
I've got a feeling I'm leaving stardom behind, you know. I'm gradually becoming more of a filmmaker, acquiring a different kind of dignity from that which you achieve in acting. After all, I'm no matinee idol, and I'm getting older. I don't think I can be doing my kind of thing in the seventies; I want to be on more of the creative side of business.
It's all just one film to me. Just different chapters.
Most of my characters are romantic rather than sexual. I think that's an essential difference in my pictures. I think they are more accurate in portraying young people as romantic - as wanting a relationship, an understanding with a member of the opposite sex more than just physical sex.
We are not documentarians, we are filmmakers.
There's some movies I watch, they're kind of like my anti-anxiety pill, my anti-depressant pill. I watch them at least once or twice a month probably. And I never stop learning from them as a filmmaker.
Post-war filmmakers gave us the documentary, Rob Reiner gave us the mockumentary and Moore initiated a third genre, the crockumentary.
It's really interesting for me as a filmmaker to go back and look at the films I've made and see where I was at that point in my life and also where my ideals were and the beliefs that I had and look at the ways I've grown and evolved and apply that to the next thing.
As a director and filmmaker, I love creating my own opportunity, and getting to share the love, in that way, by creating other opportunities for people that I admire, so that they can do something in a way they haven't done it before.
As a filmmaker, it's about surviving and lasting. So many talented people that I've known in my life - directors and writers - just haven't made it and haven't had a chance.
My job is, I'm a photographer. I'm something of a filmmaker. And primarily, I'm an adventurer. My job is to help people fall in love with their world, their planet. With the understanding that you don't save what you don't love.
It's just occurred to me that some horror films everybody laughs because they're so ridiculous and they're so frightening in a way, the filmmakers' are trying everything, that they just end up being funny.
This is what I always tell my filmmakers-you have to do tons of research, because you don't know where the inspiration is going come from.
It [moviemaking] is about entertaining audiences with great characters and great stories, you want to make people laugh, you want to make people cry, you want to have great music that is memorable. You want a movie that, as soon as it's over, you want to watch it again, just like that. That's what it is, whether it's live-action, animation, hand drawn, computer, special effects, puppet animation, it doesn't matter. That's the goal of a filmmaker.
I'm not a fan of 3D. But I am a huge fan of digital imagery. Because it allows a filmmaker much more latitude to appreciate their own visions and dreams.
As a filmmaker, you're always supposed to be with your characters, in all movies, even if they're villains.
If I was American, I think I'd live in New York, because I like that East Coast mentality. There's nothing wrong with Hollywood. If you want to be a big time filmmaker, you should go to Hollywood.
I say to first time filmmakers that when they're asked, they should go to America as you're far more likely to get a chance.
I loved working with him [Justin Chadwick]. He was very smart in how he assembled the people around him and had a crew that he knew very well. He was very comfortable on the set and I never felt that I was working with a first-time filmmaker.
Directors don't get to see other directors at work - they're the only one on the set. I've met directors who've asked me what another filmmaker is like. So, there's probably nobody better placed to make all the comparisons and to pick up stuff than an actor.
I think film is a director's medium and the good filmmakers that I like tell the darker stories. Therefore, I'm always inclined to follow people like David Cronenberg.
Literally, the piece at the end is where the universe is cracked apart, it's a big moment. Basically, they, the filmmakers, have directed the story earlier in the book. It happens, it's called adapting a book, you have to make decisions about things. It's not unusual having to cut out scenes.
Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film.
You have to really be able to trust the director. It's about the filmmaker and whether or not I'm going to be able to have a relationship with them and want to follow them down that road, wherever it may lead.
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