I certainly don't believe you documentary filmmakers. Like me, you are involved in making fiction, and your fiction is just as well organized and just as well predicated, but the big difference between me and you is that I'm honest and you're dishonest. I know I'm telling you lies.
[ Blue is the Warmest Color ] was really a film about two people having to go through a relationship which everyone knew would lead to a breakup and the pain that that entails. Anybody can see that story, what leads to that, and identify with it. As a filmmaker, I wanted to construct this identification process with the characters so that you fully connect to their emotions and what their breakup [represents].
I probably shouldn't do a straight drama. I'd probably ruin it. I don't know. But, I'd love the opportunity to try. I'm sure that every kind of filmmaker feels that they can do other genres of film and want to, and I feel the same way.
You don't have to be musician to listen to music, and you don't have to be a filmmaker to go to the cinema, but somehow when we think of science, we think of it only as an academic discipline.
As an independent filmmaker, to develop the money and the financing and the structure and the whole process, and then promoting them and traveling with them, which is a part of the process that I've always enjoyed and I've learned a great deal from.
At some point, you have an opportunity to not be a first-time filmmaker anymore. You can embrace the genre and show the world how you can tell stories on a bigger scale.
By the time you arrive at Sundance as a filmmaker, you've been living with your film intimiately, and scrutinized every frame, and probably aren't happy with - or at least I'm never happy with it - and you've seen it in the roughest of states, and you lose perspective, really.
I'd always wanted to work in television once I found out that they started to hire independent filmmakers to direct.
You can't turn up at college in stilettos and say you're gonna be a filmmaker. In the college, they were teaching me avant-garde filmmaking, where I had to make films that were, like, an hour long about nothing. I just refused to do it.
I am always striving to be the best that I can be as a filmmaker.
What I have learned first and foremost is to follow your instincts. As a filmmaker, there are no rules as to how to play this game. That is a big problem I think that exists in the education on how to be a filmmaker or how to make movies.
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.
What I love about the filmmakers that I mentioned [Danny Boyle,Leo Carax], is that it's visual but it's also, you see that the characters are the most important thing. The actors are the most important thing.
I know every film is different. Every filmmaker is different and works differently.
The most interesting part of IIFA is that I get to meet filmmakers from India. I just attended a symposium on Satyajit Ray with Rituparno Ghosh and others. It was just so satisfying
I have seen so few films in which the sex felt really respected by the filmmaker. Hollywood too often shies away from it or makes adolescent jokes about it... Sex is only connected to the negative because people are scared of it.
When I do encounter young women or aspiring filmmakers who tell me that I've inspired them or that my work means something to them, that's amazing. That's really exciting!
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