'Rocket Science' is really where I fell in love with filmmaking, I think 'Camp' was incredible, but it was so bizarre, and I was trying to find my footing in this world where you don't have an audience for immediate validation.
I feel like I'm still learning a lot. I think there's a tendency for people who are just doing their first couple of films that I see now where they seem to be really resentful of the technical limitations that come along with filmmaking.
I like figuring out where I need to be mentally so that I'm not thinking about the camera and that it's second nature. I want to get to a place where I can exist within the confines of what you can do with filmmaking and not have to think about it.
I've always wanted to introduce hip-hop filmmaking to film. There's hip-hop art, dance, music, but there really isn't hip-hop film. So I was trying to do that.
I love independent filmmaking. I don't agree with a lot of it, but that's the point.
I love the grandiosity of Hollywood movies, and even in independents, I love the canvas you can tell your story on. I love fiction filmmaking, you really feel like you're creating something.
The idea of working with Steven Spielberg was very attractive. He's such a master. He knows the language of the camera and of filmmaking, which gives him a great freedom.
It takes great skill to tell a compelling story in under 60 seconds. These five directors have mastered the format, using their talent, craft and imagination to provide us with some of the most innovative filmmaking out there today.
Filmmaking can be a fine art.
There are lots of parts of filmmaking that I don't like. At the end of the day, especially on features, the film turns into a commodity. You have to play this entirely new game I'm very uncomfortable with.
There is a straight-forward definition for 'Independent Filmmaking'. The term references a group of films that are financed by money that comes from outside the studio system. In a literal sense that is what it means.
I earn my living by teaching film, mostly filmmaking but also teaching courses on current cinema. I'm interested in movies. I hope that's not all I'm interested in. In that sense, it's maybe a little misleading. I don't expect to make another movie about films, but I may continue to write about them.
I used to be a huge fan. "The Simpsons" taught me a lot about filmmaking. It imitates film, but it's drawn, so everything is super clear
For me, poetry has a strong link to my filmmaking. My films learn from my poetry. In poetry, you're free. You start in the corner and you don't know where it leads you. I have no message, I have nothing I want to tell, I just start and I see where it leads, and it's a big surprise and relief if it's good. That's the ideal state for filmmaking.
I like the idea of chance coming into filmmaking, in shooting, in editing, and I do make space in my rules of game for chance.
Young filmmakers are supposed to be the young turks that advance the current state of filmmaking ideas.
If you want to be a rock star, you're not going to just walk on stage. You gotta go practice in the garage until your fingers bleed. I always say that - the same with writing and the same with filmmaking - if it's really your passion, you've just got to stick with it and do it.
The advice you give to young directors for sure is to go out and become some version of a successful movie actor. Do that first and say yes to people like Terrence Malick and Clint Eastwood and Woody Allen when they come and offer you movies. It's a great front row seat to filmmaking.
I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.
I always do casting for every role, even if it's just one sentence. I like to work with theater actors because they're used to a process. I think filmmaking sometimes can become so stiff. Sometimes I have the feeling that people come together praying in the morning that, "Let's just shoot something, no matter what! Let's just finish this day, no matter what we will tape!"
To me, any kind of filmmaking that's reactive is not going to be as good as something more inventive and original.
I really like Olivier Assayas filmmaking. He always has this global - economy thing going on.
Any film that you make, it's a very high end game of musical chairs ... but that's just the nature of filmmaking. You do the dance with a certain actor.
In lower budget filmmaking, everything is a favor. You're pushing everybody, all the time. You're trying to get the best out of it that you can, and it has to be a labor of love, or you can't get it done.
I think it's very valuable as an actor to throw yourself back into having that direct connection with an audience on-stage and work that muscle. It is a very different type of work and equally fascinating. I mean, I've very much in love with filmmaking because I really love the way you can tell stories with a camera and how music and everything contributes to the story in a very direct way. But I also think it's very valuable to come back to theatre, so if the right script came along I would love to come back to London and do some more.
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