Our own lives feel so disordered and confusing, so it's amazing to me that the filmmakers caught the personal, emotional high points and low points of my life and not just the public aspects.
The creative process is a very collaborative process. I know it might seem that way because so much ink is spilled and the media is obsessed with business and numbers and studios... but filmmakers don't think of it that way. We just go off and we tell our stories. It's the same torture that we adore, it's the same torture that our forefathers endured making movies in the golden era of Hollywood. So, from my perspective it's no different, I'm sure, from the men and women who I admire so much who made the earliest movies.
I don't have any bone to pick with critics. In fact, if I wasn't a filmmaker I would probably be a film critic. Most of my bone is I would be a better film critic than most of the film critics I read.
A filmmaker has to have great vision in order to tell a compelling story that is both distinctive and stylistic. I remember playing all movies in my head hundreds of times before they were ever made. You have to see it in your imagination. It has to be real to you.
You have to believe in yourself and always strive for the best. Whether that is getting the best actor, the most talented cinematographer, or the best location for your story, you have to have the hunger to want it and be willing to do what it takes to get it. A filmmaker should never be satisfied with their work. There should always be something that they want to improve on.
Nobody really truly supporting independent filmmakers anymore. It's just dire. There's a lot of bad filmmaking, and there's a lot of people worshipping some terrible filmmakers. It's a waste of all of our time, if you don't feel anything. We are an age of YouTube kids. We don't care so much anymore. It's all about marketing.
I was inspired by Maya Deren because she was the first woman filmmaker whose films I saw. I also loved Fellini and Goddard because they were so different from Hollywood films. But when I saw the cinema verite films that were made by Drew Associates with Leacock and Pennebaker I found my passion.
I'm always intrigued by new challenges and things that I've never done before and new experiences. It sounds so simple, but the primary interest is just something that's good and instills within me some kind of gut feeling that feels like something that I'm passionate and excited about, and there can be multiple variables that can instill that. It can be simply a filmmaker, it can just be a character, it can just be the script, or a combination of all those things. But, I'm always just looking to do things that I've never done before, primarily.
I tried [being a mogul]. It bores me. I don't really want to produce other people's movies. Because they're either grown-up filmmakers like Steven Soderbergh or Kathryn Bigelow that didn't really need me - and I've produced both of them. It's fun to sit around with them and be collegial, but they don't need me. They can make the film without me. I make my own stuff. There are tons and tons of other things I'm interested in that have nothing to do with movies or are documentary projects.
Nowadays filmmakers tend to recycle the same cliches over and over again.
I don’t want to be an old-man filmmaker, making old-man movies, and I don’t want to be the one not to know when to leave the party.
I tried something when my career was really struggling: reaching out to people, to filmmakers I wanted to work with. I genuinely wrote a letter to Clint Eastwood saying, "Hey man, I'm a fan and I would be an extra in your movie."
Filmmakers tell actors to adjust their body language, and the famous presence of the actor is his or her body language. That is what makes them special and a movie star. An actor's capital is his body.
There's more emphasis on art and culture in Europe than there is in the United States and I think that a lot of American directors and writers are just trying to copy other American horror films, they don't pick up much in the way that European filmmakers do.
I moonlighted during a two-week vacation, doing a month's worth of work in two weeks; it almost killed me, but I wanted to stretch my muscles and the letter from the producer says, "Your storyboarding is Eisensteinian," referring to the famous Russian filmmaker.
I don't like every other musician's work. The same way that filmmakers don't like every other filmmakers' work. Just because I'm a feminist doesn't mean I'm gonna say that I like every other woman's work, or that I appreciate another statement that another woman publicly made.
For me it sounds weird saying that the filmmakers respect the film. I don't imagine that there's other ways to make a film, but unfortunately there is.
Every filmmaker knows that when you make a book into a movie, the first thing you have to do is kill the book, unfortunately. You've got to recreate it.
In the 10 years that I've been a professional filmmaker, the film part of the film industry is really disappearing, right in front of our eyes.
Filmmakers get into trouble when they're watching too many DVDs and quoting all the time.
If you're a great documentary filmmaker, it doesn't necessarily mean that you're a great narrative filmmaker. There are fantastic documentary filmmakers that can't direct actors. You don't have to do that in a documentary, if it's a real documentary.
I'm a small filmmaker, making my small, low-budget movies, but I'm super lucky to know that everybody reacts differently to my movies. That's interesting.
Most filmmakers go out with the first feature and nobody cares.
The first time I ever intersected with the quote unquote industry or Hollywood or being given a paid job as a director all came because of the reputation I got coming out of Sundance as a veteran Sundance filmmaker.
I think I've always admired sort of dynamic filmmakers, which doesn't shy away from strong expressions. Which might be a little more theatrical at some points.
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