Quotes About Filmmaker

I am a filmmaker and I have no issues with anyone, I am a director and I am just here to tell a great story.

As a kid who grew up in Inglewood, California during the Showtime era, I'm so happy to help bring the story of Earvin 'Magic' Johnson to the screen. This project is a convergence of so many things that excite and interest me as a filmmaker.

The precision of a filmmaker is like the precision of a surgeon.

I feel like I'm a filmmaker; I don't feel I need to yell action and cut.

Even from a really young age I was a huge movie buff - five, six, seven, eight. Just loved movies, but in a more in-depth way than most kids that loved movies at that time. I'd find a filmmaker or something and want to see all his movies.

I love the movies. Everyone always says the same thing about the shared cultural experience, seeing things on the big screen, the church of the cinema... But on top of all that, as a filmmaker, I love having people be trapped in a movie theater, forcing them to watch what I made.

What attracted me to 'Eclipse' was that it is a great story and a tremendous challenge for me as a filmmaker.

I couldn't sleep one night and I was sitting in my office and I realized that I was an independent filmmaker.

I'm crazy lucky. I was trying to be a filmmaker. I was doing Second City classes as a way to be creative. I was a PA for a long time. I was working as an assistant editor on 'Iron Chef America' when I got 'SNL.' It was one of those situations where you're concentrating in one thing and the peripheral thing popped.

O mesmo cineasta do subconsciente que de dia lhe enviava pedaços da paisagem natal como imagens de felicidade, organizava-lhe de noite, regressos aterradores ao seu país. O dia era iluminado pela beleza do país abandonado, a noite pelo terror de lá voltar. O fia mostrava-lhe o paraíso que perdera, a noite o inferno de onde fugira.

There's as much great authorship in the filmmaker community as in the literary community, and I'd love to welcome more filmmakers into the fold.

It's called 'Crazy Rich Asians,' but it's really not about crazy rich Asians. It's about Rachel Chu finding her identity and finding her self-worth through this journey back into her culture. Which, for me as a filmmaker, exploring my cultural identity is the scariest thing.

Beauty judgements are many and while we think that light skin women have no judgements to deal with. There is this filmmaker I love and respect and I really wanted to work with, once told me 'You are too fair to be in my movies.' And then I have also heard 'You are too pretty to play this part.'

A filmmaker chooses an actress keeping the best interest of the film in mind. If he doesn't cast you, it doesn't mean there's a personal agenda. Change is constant, and if you have agreed to be part of this industry, you will have to go with the change. The films and filmmakers, even the audience has changed.

I learned how to tell stories with Jay-Z on 'City Is Mine.' I learned how to film and choreograph dancing on 'Can I Get A...,' and I got to kind of be a documentary filmmaker with 'Hard Knock Life.'

Louis Malle was the best filmmaker I've ever worked with. He was such an artist. He was dealing with the theme of innocence and experience.

I'm free - but I'm also not free because there are millions of young people living in Iran. A filmmaker can only do a little.

What I'm drawn to most as a filmmaker are these tribes that are seen as 'fringe' cultures. We live in a society where many young people feel alienated, and these family constructs are an antidote to that.

Frankly, I get sick of being considered a 'young woman filmmaker' rather than an individual artist, as a man would be.

I still have energy and some degree of youth, which is what a filmmaker needs.

In movies, there are some things the French do that Americans are increasingly incapable of doing. One is honoring the complexities of youth. It's a quiet, difficult undertaking, requiring subtlety in a filmmaker and perception and patience from us.

I don't know of a more noble, a bigger deal as a filmmaker than to be a YouTube filmmaker.

I've tried not to get sucked into the Hollywood hierarchy system. Personally, I don't like it when people are deferential to me because I'm an established filmmaker. It's a blue-collar sensibility.

When a country's government is involved in something, no filmmaker tries to make a film on it.