Quotes About Filmmakers

Music is a very, very powerful tool that filmmakers use to sway people into emotions that they intend you to feel.

I think filmmakers in general are, as the tools become more and more advanced, you're able to tell stories in a way that I think is more realistic. The technology just wasn't there up until pretty recently, and it takes a bit of time for the normal artistic way of approaching something to become a mainstream thing.

One of our big tools is screening. We screen usually 12 times, which is much more than most filmmakers do, and we recut in between each one, because we really need to feel how the audience is reacting to the movie.

From this moment on, nothing is what it seems. You're not a human being, you're a character- and filmmakers are doing everything in their power to kill you even now. Supernatural powers and curses are real, and numbers like 666 and 237 can kill you just as easily as a butch knife. Log cabins are slaughterhouses, cornstalks are antennas for evil, and aliens never, ever come in peace.

I'm not one of those actors where filmmakers that I admire ask me to be in their movies. I meet them at parties and they're nice to me, but they never ask me to work with them.

It's nice being friends over a period of time with people whose music you like so much, or other filmmakers, seeing people change, go through trials

Having to make a blockbuster every time puts unhealthy pressure on creatives. The pressure on the filmmakers is so intense, I think it stifles the creativity.

Stories in which the destruction of society occurs are explorations of social fears and issues that filmmakers, novelists, playwrights, painters have been examining for a long time.

The Bolsheviks placed a premium on the "creative intelligentsia," as it was termed—writers, artists, and, especially, filmmakers—as well as scholars and scientists. Military officers ranked even higher. But most of all, the Bolsheviks valued themselves: privileges and benefits for "political workers" exceeded those of all other groups.

I love learning from the filmmakers that I'm working with, but more importantly, I love learning from the crew.

Historically, filmmakers always fall in love with every frame, but now that even neophytes are given final cut, this love affair carries with it serious economic implications.

If the goal is to get the best artists, actors, and filmmakers in the world to create the best movies, Hollywood does a decent job. And I think no one would disagree with me that it also makes a ton of bad movies and employs a bunch of hacks.

The independence of content creation without fearing what's going to be censored has relieved a lot of filmmakers in India.

Making African American films are hard in Hollywood. We need to rely on a support network and bring more cohesion to different filmmakers, actors, producers etc. It's a very difficult business. There aren't a lot of Africans Americans or people of color in high positions in Hollywood that we can green-light films.

The Cannes film festival is about big-budget films but also remarkable films made in different political regimes by film-makers with little resources.

If people want to see more representation of trans people you just have to look around, because with the explosion of digital creation, lots of trans actors and film makers have been creating their own content and it's readily available.

Look, I'm going to take full advantage of this situation just because I love working with great filmmakers. But I've been around for a while, and I'm not going to play into the hype that I'm some great, you know, discovery.

Hindsight is the most dangerous thing imaginable for me. I imagine that's the case for most filmmakers. And I would love to be a filmmaker who was an exception to that rule, but I'm certainly not.

Content is now the most import factor that decides a film's success at the box office, so we as filmmakers are all trying different stories.

Many filmmakers start off with an autobiographical film from childhood, and that's kind of what I was thinking I would do, but other projects would just present themselves naturally in the beginning.

I've been fortunate to work with some amazing Asian filmmakers in independent film.

'Ageism,' or whatever you want to call it, is a very English phenomenon. You don't get it too much in many other cultures. And no one says it about authors or poets or filmmakers. 'Oh, they're too old to make films or write books.'

There's a lot of Latinos right now, a lot of filmmakers and writers that are Latin too.

As it is, I'm happy that the tourism department has sent out word to agencies in Delhi asking them to help filmmakers whenever they want to shoot their film in the capital. At least, they are in favour of the filmmakers.