Curiosity doesn't matter anymore. These days people don't want to be transported to emotional territories where they don't know how to react.
It is not only my dreams, my belief is that all these dreams are yours as well. The only distinction between me and you is that I can articulate them. And that is what poetry or painting or literature or filmmaking is all about... and it is my duty because this might be the inner chronicle of what we are. We have to articulate ourselves, otherwise we would be cows in the field.
Part of filmmaking is always a guessing game, and part of it is always a game of trust.
If you can't believe a little in what you see on the screen, it's not worth wasting your time on cinema.
People have forgotten how to tell a story. Stories don't have a middle or an end any more. They usually have a beginning that never stops beginning.
Invest in learning and discovering new filmmaking techniques is the next keystone to success. Film is changing rapidly right now. The last big change was the introduction of sound. This time around it is movies on th internet and mobile telephones.
I'm sure I can make a movie that doesn't feel like a seventies movie! But the truth is, that's my favorite era in American filmmaking. To me, those were the great years.
If we do our jobs well and throw in a little evangelizing, we can make sound as important a part of filmmaking as it should be.
It is really important that young people find something that they want to do and pursue it with passion. I'm very passionate about filmmaking. It's what I love to do.
A film causes me so many worries and such a lot of reactions that I have to love it in order to get over it and past it.
All you need for a movie is a gun and a girl.
I think I veered towards filmmaking because there's more of a sense of control in it. You're not waiting to be picked. That said, in film school I acted in probably 6,000 student films because no other filmmakers knew anyone who wanted to act. It was all a big beautiful snake eating its tail, progressing along the way.
I've learned a great deal about a certain type of filmmaking. But I have ambitions toward another type of filmmaking that I haven't been allowed to engage in yet.
The advice you give to young directors for sure is to go out and become some version of a successful movie actor. Do that first and say yes to people like Terrence Malick and Clint Eastwood and Woody Allen when they come and offer you movies. It's a great front row seat to filmmaking.
If you want to be a rock star, you're not going to just walk on stage. You gotta go practice in the garage until your fingers bleed. I always say that - the same with writing and the same with filmmaking - if it's really your passion, you've just got to stick with it and do it.
I love independent filmmaking. I don't agree with a lot of it, but that's the point.
I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.
Young filmmakers are supposed to be the young turks that advance the current state of filmmaking ideas.
I like the idea of chance coming into filmmaking, in shooting, in editing, and I do make space in my rules of game for chance.
I like figuring out where I need to be mentally so that I'm not thinking about the camera and that it's second nature. I want to get to a place where I can exist within the confines of what you can do with filmmaking and not have to think about it.
[Allied] meant to be a film that's a bit different. It's roots are in the '40s and '50s, and that sort of filmmaking style.
There is a straight-forward definition for 'Independent Filmmaking'. The term references a group of films that are financed by money that comes from outside the studio system. In a literal sense that is what it means.
I always do casting for every role, even if it's just one sentence. I like to work with theater actors because they're used to a process. I think filmmaking sometimes can become so stiff. Sometimes I have the feeling that people come together praying in the morning that, "Let's just shoot something, no matter what! Let's just finish this day, no matter what we will tape!"
I always feel like I learn more from directors that are new, and I also am able to understand how much I really do know about filmmaking when you work with directors that maybe don't have as much experience, so you're able to sort of take the reins. I know how to do these movies, I've done so many of them and have learned from new directors who are usually willing to try new things and are more open to allowing someone like me to kind of come in and just do what I know how to do.
You hear it said time and time again by successful directors: You have to make a movie for yourself. Don't make it for anyone else. My style of filmmaking happens to be give the audience what they know they don't want, but they want. Ultimately I have to write and direct in a way that let's just say, you don't want to regret making a choice.
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