Celebrate your victories and mark your defeats. Ultimately documentary filmmaking is not a job, it's a calling.
The most important part of filmmaking is the collaboration and the ensemble element of it. If you just all focus on the task and the work and try and make the best film that you can then people will come.
Documentary filmmaking ruins you for real life, because you learn to be extremely attentive.
Its amazing what you can do without in terms of filmmaking when a story is really important.
There is a great tradition of independent filmmaking in the U.S. that I absolutely respect. There's some wonderful stuff that comes out in this country against all the odds.
Independent filmmaking has always been there and it's not to be forgotten.
I became a documentary filmmaker because I wanted to make socially conscious films. I never studied filmmaking - everything I have learned has been on the field.
The relationship with actor and director is probably closer to theater, in that, when we record the dialogue, there is very little in the way of the creative collaboration - no cameras, lighting or even locations. Then, once we record, the post process is very similar to the post flow in filmmaking - editing, sound design, mixing, etc. At the end of the day, it's all about storytelling and honing in on a tone by developing a rhythm and structure that suits the storytelling.
I always think of comedy as being spontaneous, and yet everything about filmmaking is not spontaneous.
I've always had good relationships with directors. I'm one of those people where, if there's a good idea coming from the sound guy, I'll take it. Filmmaking is a collaborative effort, whether it's a first-time director or it's Mike Nichols. I think that's the standard that the great ones set.
I went for a more classical approach to filmmaking with lots of dolly, track and cranes, and slightly slower, more choreographed fight moves, so you get more fight moves in one take.
3D really altered the way I shot the movie completely, and it was exciting because, after 20 years of filmmaking, I felt like I was making my first movie, all over again.
I'm going in a really weird I-don't-know-where direction, but I prefer anything [different] from how standardized filmmaking has become.
News makes things black and white. Documentary filmmaking should do the opposite.
I was extremely shy. And I simply didn't know how to go about it. It seemed a lot easier to write than to make films. All I needed was a pencil and a piece of paper, whereas filmmaking was something I had no access to.
There is something missing in a lot of digital filmmaking, something I call "poetic reality." That's something you see played out in film noir, where the technique establishes the mood.
I found my father's Super8mm film camera when I was around eight years old and started shooting with it. I had no idea what I was doing at the time, but that's really where my filmmaking began.
When you decide you want to make a film, you start listening to everything that anyone has to say about filmmaking and reading everything, and there's a maxim about film being a visual medium, and so you need to make, in a sense, a silent movie and layer on dialogue.
My parents were always encouraging of us being creative however we wanted to be. People say, "You didn't get pressured into having to be a director?" But it's hard to be around my dad and not be curious about filmmaking, because he thinks it's the ultimate medium.
I think the worst that can happen in filmmaking is if you're working with a storyboard. That kills all intuition, all fantasy, all creativity.
Intuition is the key to everything, in painting, filmmaking, business - everything. I think you could have an intellectual ability, but if you can sharpen your intuition, which they say is emotion and intellect joining together, then a knowingness occurs.
People want to know if I have a moral standpoint that they should be picking up on, and the truth is, I don't. I don't want people to think that I'm trying to tell them to feel a certain way. I think that's cheap filmmaking.
For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.
I intentionally shoot violence to make the audience feel real pain. I have never and I will never shoot violence as if it's some kind of action video game.
I spent several years in the film finance business, but I returned to what I loved most about the industry - actual filmmaking, producing, writing and directing.
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