Filmmakers have to find the right materials to match their [voice].
I'm a project-based photographer; I think in narrative terms, the way a writer thinks of a book, or a filmmaker a film.
I consider myself an independent filmmaker.
You have these relationships with people that you care about, but I also try to stick to my job as filmmaker and be fair and truthful about what I saw and my experience of the people, hopefully informed by a deep understanding of them.
I love my work, apart from when it's driving me crazy. But I get to be interested in stuff and think like a filmmaker as I'm buzzing about the world and then see an opportunity to make a film, and then make it happen.
I think the thing about film is, as it gets proved by a lot of young filmmakers now, that the medium will just go on reinventing itself, and so you just hope to be a part of that and not a part of some kind of endless regurgitation or 'Here I am doing what you know I do' kind of thing.
I go to conventions and universities and talk to young filmmakers and everybody's making a zombie movie! It's because it's easy to get the neighbors to come out, put some ketchup on them.
It doesn't matter if you're the smartest person in the room: If you're not someone who people want to be around, you won't get far. Likewise for helping those in line behind you. I take seriously my role as a mentor to young female filmmakers - I make sure my time is tithed.
I love movies that are just straight-up exploitation, but the ones that endure and the ones that last are the ones where the filmmakers put in that extra level of thought; after 25 years you put them on in front of an audience, and they'll respond to it and enjoy it.
I think filmmakers, in general... There are some awesome, really great filmmakers - but on the whole, filmmakers, actors, I think they are the biggest bunch of whiny, over-paid babies on the planet.
If there's anything that I've always said about myself is that to me, it's much more important for me to get to work with filmmakers that I've grown up loving and admiring.
I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
Working with HBO was an opportunity to experience creative freedom and 'long-form development' that filmmakers didn't have a chance to do before the emergence of shows like 'The Sopranos.'
There are certain filmmakers I'd like to work with that I don't think would take a risk with me, because I could be distracting in their film. It'll take a couple films to prove to them that it's worth the risk.
Louis Malle was the best filmmaker I've ever worked with. He was such an artist. He was dealing with the theme of innocence and experience.
I would love to have been a documentary filmmaker; I just didn't have the resources to do that.
Other filmmakers make their movies and put them out and that's that. For me, for some odd reason, it goes deeper than that.
Personally I find there is just as much if not more creativity among game makers as there is among feature filmmakers.
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.
And as a filmmaker, I'm trying to unhook myself from this idea that unless you have a brilliant, long, enormously lucrative theatrical run, that your movie somehow failed. And I don't believe that.
I've always worked with a team of actors and filmmakers ever since I was a kid in Michigan making Super-8 movies.
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.
Even from a really young age I was a huge movie buff - five, six, seven, eight. Just loved movies, but in a more in-depth way than most kids that loved movies at that time. I'd find a filmmaker or something and want to see all his movies.
Well it's always been an element of the horror film to show us the gross out. I mean that's one option for all filmmakers making a horror film and it's not something I've found myself above either.
Making African American films are hard in Hollywood. We need to rely on a support network and bring more cohesion to different filmmakers, actors, producers etc. It's a very difficult business. There aren't a lot of Africans Americans or people of color in high positions in Hollywood that we can green-light films.
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