I love awards, especially if I get them. It's up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.
Showtime has given new, young filmmakers - black, white, across the board - an opportunity to make films, as well as actors who want to cross over into directing.
The filmmakers always have a great level of control.
I am the luckiest filmmaker I know.
With the Ford Foundation grant all of a sudden instead of being an artist that had made a couple of short films, I became a filmmaker who dabbled in the arts.
I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.
An Oscar means a lot of things because it's like the ultimate award for a filmmaker so it feels great. But I think you have to consider awards with some distance and not get obsessed with it. When you're creating you shouldn't think about it.
I think filmmakers want their movies to be seen.
I had pictured myself as a filmmaker but I had never pictured myself as a director if that makes any sense at all.
I'm only a stupid filmmaker.
I'm not a politician; I'm lucky to be a filmmaker and to be able to express myself through the films I make.
When I was young, my idea was to become a filmmaker.
Every technology that comes into filmmaking is first a gimmick. Think about sound with 'The Jazz Singer' or the first colour or surround sound - it takes a while for filmmakers to understand how to use it.
And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.
Movies took you right up to the edge but kept you safe.
If a Million People See My Movie, I Hope They See a Million Different Movies.
I think maybe making films is something innate you can't really teach to begin with.
I don't try to guess what a million people will like. It's hard enough to know what I like.
A Director Makes Only One Movie in His Life. Then He Breaks It Into Pieces and Makes It Again.
All I need to make a comedy is a park, a policeman and a pretty girl.
A film is a petrified fountain of thought.
The end of a picture is always an end of a life.
I believe in destiny. But I also believe that you can’t just sit back and let destiny happen. A lot of times, an opportunity might fall into your lap, but you have to be ready for that opportunity. You can’t sit there waiting on it. A lot of times you are going to have to get out there and make it happen.
I was approached by the filmmakers. I didn't know much about the project ["Selling Isobel"], and the more we talked, the more they started to confide in me. I read the script and thought it was really interesting, and then a week later I discovered that this wasn't just any old script, this was actually Frida's [Farell] story and she was trusting me to tell it. I felt very privileged.
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