A lot of filmmakers and actors say, "It's so important to bring an authenticity to the role," blah, blah, blah. But then it's interesting because you're also trying to be somebody else, and viewers are going to associate you with that, so I don't think it really has an answer.
As a filmmaker, I always took my inspiration from a filmmaker named Marcel Ophüls, who said, "I always have a point of view, but the trick is showing how hard it is to come to that point of view."
I thought The Big Short deserved a nomination because Adam MacKay is one of the best filmmakers. A lot of what he does deals in comedy and he co-produces with Will Farrell, people don't really give it the credit that it deserves. I think that they actually do great screenwriting and they make great films, very entertaining.
I understand when there's no money for the arts in the government, but it should maybe pressure private companies to support more filmmakers. These exhibition and distribution companies are huge, and there might be incentives for them to invest more in Mexican cinema.
As a sensitive filmmaker, I think you have to really be careful in how you explore it. Not that you can't tell any story you want - I'm not calling for censorship or anything. But if you're going to have violence, I think it's important to deal with the consequences of that on a human level, not just to make people laugh.
It's my experience that endings are never easy, and I think I'm not alone among filmmakers or writers in this.
If I want to keep making films for a few more years, I probably should be willing to adapt. I've sort of evolved into the filmmaker that I am because of natural selection anyway.
I probably live in the best province for independent filmmakers. Manitoba has a sort of thieving-magpie approach, trying to lift productions from other provinces as well as from other countries. It makes it very hard for me to leave.
Some of the mini-worlds that filmmakers have created are so ingrained in my love of culture.
I began my career in the arts as a model, before adding my hats as an actress, a photographer, a journalist and now, filmmaker. I've seen and experienced it all.
As a filmmaker, you are constantly having the discussion with your team about whether something is "relatable".
For me, the best part is people who watch the movie and tell me it inspired them to collaborate with their friend who's a photographer or filmmaker.
Even a documentary portrait of a person that tries to be very accurate is shaped by the filmmaker in so many ways.
Millions of filmmakers would love to be in my position right now. If you are honest it makes the world a better place. I created the room with my passion and after all these years it finally worked out.
I grew up in the '80s and John Hughes was the filmmaker making serious movies for teenagers.
Whole class of filmmakers, they're all graduating to a new level of filmmaking, which I think is awesome.
I love the studio system. Love that studio system and all their money. They're great; I think they're fabulous . You know, what it is right now is I feel like I'm still learning as a filmmaker, I'm still starting out.
I'd like to make mistakes on my own dime, and not have a herd of people tell me what I'm doing wrong. and I'm also still trying to find and develop my voice as a filmmaker, and I think that's easier to do on your own terms, than trying to satisfy a bunch of people that are paying for the movie. That being said, I'm certainly open to moving into that world.
Leni Riefenstahl was the one person Goebbels had no control over in the filmmaking community of Nazi Germany, and they despised each other. But because she was Hitler's favorite, she could do what she wanted. She was the only filmmaker that did not have to cow down to Joseph Goebbels.
It's interesting for myself, growing up as an Asian-American filmmaker. Coming into the industry, my parents always said, "No one's going to give you the opportunity. You just have to do the work. Be better than everyone else, so they can't deny it."
I was a filmmaker. I made movies. I made films. And I always took photos and made films, always from the beginning.
I'm proud of the way I rearrange and put things together, like a chef who makes a great meal, or a filmmaker who puts together a story - it's casting, editing, cinematography.
It's funny how it reads like a Kubrick-inspired moment, a filmmaker controlling one's mise en scène. What it truly is is a documentary moment.
I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.
The starting point and the ending point are nothing but two arbitrary choices. You make them as in soccer games, where they chose that it's 90 minutes, not less and not more. But the choices are the responsibility of the filmmaker. You have to choose to join the story at an arbitrary point, and you leave it at an arbitrary point.
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