I think I'm a prudent filmmaker.
We talked to a lot of filmmakers who had worked on other anthologies and we looked at every anthology, and we wanted to just find a different way [for Tales of Halloween]. And being that unity was what the whole spirit of the project was - unity and friendship and community.
In some ways a mark of good parenting is that you don't try to make your children into little knockoffs of yourself. None of us went into business. None of us became powerful people like that. All of us pursued our own passions and our own interests. One of my brothers was filmmaker. One of my brothers was a teacher. My sister was a librarian.
It's probably unprecedented for a filmmaker simply to take the writers' script and treat it as the instructions on the package. What really happens is you pretty much suppress your own instincts - and your own views on the matter - and write things the way filmmakers would like to have them, though the filmmakers often don't know what they want. They can only find out by reading what you do.
If you deconstruct the movies that have done well, Pixar-type movies that do incredibly well and make hundreds of millions of dollars, they have a strain of decency and conservatism that maybe even their filmmakers don't even recognize. Yet, we cross our fingers that by mistake, liberal filmmakers and liberal producers are going to by mistake make conservative movies. We have to become invested in it, or else we have no excuse to complain.
[John] Hughes is a great loss, I think. He was the first filmmaker that could look at someone who was young without seeing them as being less.
One of the great things about the film being so unusual and provocative is the filmmaker to me doesn't seem to have a definite opinion on the rights or wrongs or the immorality of behaviors and systems, he just presents a set of very unusual circumstances and asked the audience to partake in the judging of what feels right or wrong or what feels natural and unnatural.
I hope people will put aside Tom Ford the fashion designer and think about Tom Ford the filmmaker.
One can be a good critic and a moral observer, but one remains professionally detached as a writer and a filmmaker.
If you can create a reality that is entirely fictitious, it doesn't owe anything to this stuff out here, but you interact with it on your own terms. I mean, if you took it to the point where finally you get, say, tactile feedback, so you were wired in in terms of the whole nervous system. The sensorium. You would have the ultimate art form. I mean, any painter would want it, any filmmaker would want access to it you know, any musician would want access to it. It would eliminate the need for the divisions between what we describe as the arts, converting the whole thing to experience.
True change is a long game, and it remains to be seen if this is change. We've had years before where there have been great years for filmmakers and performers of color, LGBTQ filmmakers and performers, women.
Is there deeply embedded change within our industry? And I would say, as a black filmmaker, it's easy for me to focus my attention on black work, but true change would include brown work, and it would include work by Asian-Americans, and it would include natives, and it would include women, and it would include more LGBTQ voices.
There's no reason not to employ, seek out and take a chance on a woman filmmaker that you might not have been looking at her direction. She's not done it before because you've not given her the opportunity to do it before, and I'm just happy that folks like Jessica Jones' Melissa Rosenberg and folks like Ryan Murphy are also embracing this idea.
I know how to make films and now I'm able to make films with the resources and the tools that match my imagination, and what filmmaker doesn't want to do that? I feel very fortunate to have that. I don't take it for granted.
We have not looked at any particular movies [in creating War Horse], but again, it's hard not to see the similarities between those movies [because of those filmmakers' influence on the industry].
Sometimes I make films about scenes other filmmakers would leave out, so I just make the film out of all the things they wouldn't put in. Poetry allows you to do this more than prose, for example.
As the filmmaker, yes, I have to look out for everybody. But I don't have to know everybody's approach.
My mother was an actress. My father was an actor and a director. I am the son of filmmakers.
My father is an absolute inspiration and such a gifted filmmaker. I have learned and continue to learn so much from him.
There will be new and exciting filmmakers to come and movies that will be great successes.
It's always important to understand as filmmakers that we're not making a documentary and it has to look good. It has to entertain, because otherwise your audience will switch and watch another series. It has to look better and larger than life.
To me, not every black filmmaker who is making black films is trying to make black cinema.
One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.
Dreamlike sequencing is perhaps one of João Gilberto Noll's most remarkable triumphs in Quiet Creature on the Corner. I translated the novel and still it remains a mystery as to how exactly how this works. Noll thinks more like an experimental filmmaker than a novelist.
The more we can be honest about ourselves as filmmakers, than the more we can be honest with people who see the films.
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