In many points in history films and filmmakers have been banned for political reasons- that's how annoying they can be to oppressing systems, how dangerous.
My advice to first time filmmakers is believe in yourself and the message you want to give in the film you are making.
There's a rumbling with young artists and young filmmakers that are dying to get different points of view, different stories, out there. It's all changing and happening and they're able to maybe not play their movies in theaters but get them on the internet. This is the new wave, the new world.
So to watch that production was just the most insane vision of a filmmaker being unrelenting in his will to create. Learning more about that was what we wanted to do. To find out how in God's name anyone could do that.
I applied [to film school] figuring, "I need to find some structure for myself. I need to find a way to figure out what kind of filmmaker I want to be." And that is what film school provides you with. It'll teach you the basics of how a production works and the technical side of how to put everything together, but you could also learn that by working on film sets.
I think we're used to the black filmmaker coming in and making the all-black subject matter. Especially at Sundance, they're looking for that. It's funny because amongst my filmmaker friends talk about this.
David Lynch was actually the one who first inspired me to become a filmmaker when I was in high school. His films just took me to that dream place that lifts you out of the norm, out of the everyday life, and that is kind of what allured me.
Working with David Ayer...the guy is a great filmmaker.
I did it [photojournalism] as something that was really rewarding to do, given the opportunity to express myself about something I cared about, and also to learn a lot by watching filmmakers I admired. In a sense, it was my film school. After doing it for a few years, I decided that the time had come to get it together and do some work of my own. So I stopped doing that and wrote some screenplays on speculation, because even though I wanted to direct, to direct you need a lot of money.
I grew up as a reader as well as a movie-lover, so many of the novelists I admired - and so many of the great filmmakers I loved - were self-taught.
Initially, it connected with me when I was a kid, seeing a lot of movies while growing up in Los Angeles. And Sam's [Fuller] pictures are an expression of such a distinct voice that he was one of those filmmakers who made me aware that there was, in fact, a real presence behind the camera that was telling the story, as opposed to actors just presenting it.
You can imagine what it was like for me to actually be sitting in a room with matching typewriters, working under the tutelage of this guy I so admired, both as a filmmaker and as a man.
I was a journalist and wrote about filmmakers, but I didn't review movies per se.
There's a team of filmmakers who follow me in the streets when I'm finding these models, to give me a sense of legitimacy to a casual stranger. This is New York City. No one's going to follow you back to your studio.
I think, as a filmmaker, it's important to be honest with yourself at all times in terms of what's working and what's not.
If we're going to be considered horror filmmakers, we have to prove it not only to ourselves, but to the audience that we can actually make something scary.
Normally, filmmakers would just write a script and cast people to act as certain characters in the story. But in my way of doing things, I have the actors in my mind already, so I'm trying to borrow something that's unique to them. The characters have a very natural connection to the actors themselves.
Since we are made up of comedians and filmmakers and writers and improvisers, we have the unique opportunity to bring joy to people who are sometimes buried in their own lives or are subjected to the bullshit that clinic workers are subjected to every day.
I've been a photographer for my whole life and I've done everything with photography that I felt I could do, and I always wanted to be a filmmaker.
Since I come from documentary background and my father is a documentary filmmaker, for me the core essence of cinema is it's social statement. It is somewhat similar to the work of a journalist, just on a different level. This is the kind of cinema I enjoy.
It sounds kind of flighty, filmmaker-y, but I believe films are a piece of art. They are meant to be what they're meant to be, and sometimes the artist is informed by the film of what it needs to be.
To pretend like Hollywood is anything other than that is disingenuous. #OscarsSoWhite is trendy, but for women filmmakers and filmmakers of color, it's not a trend. This is our reality, and it's important that we do something to change it.
It's so sad to me [see the director's versions of films] because it shows how the filmmaker never got to make the film he had originally envisioned. You watch it and go, "Oh my god, he had to cut that scene! I can't believe it."
With my horror movies or with this movie [Valley of Violence], same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.
In general, I go to see the stuff that for me is, "Thank God for that actor, he's doing something that I never imagined; thank God for this filmmaker, because if this person didn't exist, this movie wouldn't exist." That's why I go to the movies. That, to me, is what's so exciting about this movie.
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