Quotes About Filmmaking

Writing a film is like building a brick wall. You have a plan, and you have the blocks. Then, somebody says, 'I think we'll take this stone out of here and put it over there. And while we're at it, let's make this stone red and that stone green.'

We had a tiny budget for 'The Greatest,' which was the opposite of 'Wall Street.' We just kind of went in and did it. You've got four or five takes and then you've got to move on. We didn't even have trailers to stay in or anything.

I wrote and directed a movie called 'Two-Bit Waltz.'

The guy that made me wanna make movies... and this is off the wall-is a guy named Michael Pal, the British director.

I don't wanna put people in front of green screens.

I wanna work with filmmakers that love, are enthusiastic about their process - about the process - about their process and the environment of inclusion and collaboration. I want the people to be able to trust me, and I wanna be able to trust them.

I want to be an old lady, with my cane, shouting, 'Action!' and 'Cut!'

I wanted to be Steven Spielberg, Tim Burton, Stanley Kubrick, David Cronenberg, Ridley Scott, James Cameron, and Hitchcock. I'd wanted to be a director since 13, and horror and the suspense thriller were the most powerful genres to me.

In 1962, we created the Filmmakers' Co-Op because nobody wanted to distribute our films. If we had the Internet in those days, we wouldn't have needed the Co-Op.

I always wanted to be a filmmaker and became one through sheer single-mindedness. I came to filmmaking from a background in graphic design. I went to film school at Newcastle Polytechnic.

One of the things that wrong with pictures today, I think, is that so many of the people making them started out wanting to.

I developed a group of friends around me that were all as crazy as I was about wanting to make films.

I started my career wanting to make a 'James Bond' movie, and I couldn't get hired! I made 'The Bourne Identity,' and ultimately the impact of that film was that it changed the 'James Bond' franchise.

I think the biggest thing you take from the stunt world is your understanding of the filmmaking process. For years, you've worked with every other department closely. You know hair, makeup, wardrobe, special effects, and you know what everybody's needs are and their expectations. You also know how to collaborate with them.

The best filmmakers have a very familial attitude in sort of embracing the set, beyond the cast, with the wardrobe, and the hair and makeup, and the props, just making everybody feel very familial.

I was really disappointed that Warner Bros. didn't think highly enough of my film or my filmmaking to ask me to make the new Superman.

I turned in a script that meant a lot to me and an executive at Warner Bros said he was disappointed in me. I took a hit of confidence and stepped away from film-making for some time.

Every 'Star Wars' film was about pushing what was possible in terms of effects, puppets, matte paintings, stop motion and, now, digitally.

But you know, 'Star Wars' is the movie that's affected me the most in my entire life. It's the reason I wanted to become a filmmaker, and you've got this amazing opportunity to play on that field.

Star Wars to Jedi: The Making of a Saga' was huge for me. Seeing how all the creatures were made, looking inside Jabba The Hut, all of the maquettes lined up, building the world... 'This is a job?!' I was always avidly watching special features and behind the scenes stuff.

I'm a 'Star Wars' kid. I'm a 'Back to the Future' kid. I'm a Spielberg kid.

My dad and I used to shoot little one-stop animations on an old 8mm film camera when I was no more than 7 or 8, and when he was away at work, I would keep shooting nonsensical, short animated films using 'Star Wars' figures or Smurfs - depended what the narrative was.

As someone who's been a filmmaker and an editor, I was wary of being on camera.

I don't like to move the camera that much anyway.