Quotes About Filmmaking

Karan Malhotra is an amazing director, but he's strict.

After 'The Empire Strikes Back,' I got to make big films that I didn't care about, 'Never Say Never Again' and 'RoboCop 2,' and then I got too old.

There was a 3-foot-long model that was built for 'New Hope,' and then there was an 8-foot model that was built for 'Empire Strikes Back.' The 8-foot model and the 3-foot model are kind of different. A lot of the details are different between the two of them.

I'd love for there to be a situation - a world in which that's just not even a question anymore. We are all filmmakers - different stripes, genders, sexual orientations, colors - and our work can be taken on its own terms. I'm really looking forward to that day.

I know that some filmmakers strive for a kind of naturalistic approach, but you're never going to capture something that's really natural - just the simple fact that you choose to put a frame around something means that you've already chosen one particular thing to put more attention on.

I've learned one general thing in filmmaking: to work with one strong idea. One strong concept that pushes you to work in a certain way artistically.

As a producer, I probably am a little stronger than most, since I was a director originally.

Yes, I do bring something of my own to the plate. But I strongly believe that a film is a director and writer's vision.

From the moment I met Martin Scorsese in 1962, he educated me about the films that had taught him so much about filmmaking. He had been deeply affected, even as a child, by great films that stretched his mind and struck into his heart, and he was eager to share them with friends and people who worked with him or with actors who were in his films.

As actors, we went where we wanted to, and the camera followed us: it was like having another person in the room. There was no formal structure to the process. It was very liberating.

Young film makers should learn how to deal with the money and learn how to deal with the power structure. Because it is like a battle.

Most people don't really understand what it takes to get a film made, and the struggles .I think anyone who makes a film goes through their own set of struggles.

We took a very interesting journey from being really extreme art house filmmakers. But we find that working in commercial filmmaking and creating a brand on that high level affords us a lot of interesting opportunities.

I always aspire to that, where it feels like the film was made by the characters as opposed to the filmmakers. I try to be invisible.

If you're setting up lights and tripods, and you've got three assistants running around, people will want to get you out as fast as they can. But if you go the opposite way, if you make the camera the least important thing in the room, then it's different.

When you work with filmmakers, and it's their first film, there's an exuberance and optimism, which is quite... There's no room for being jaded. Thinking that you know it all.

Multi-camera's fun because you have the immediacy of the audience and just being able to tell the story more or less straight through. The thing I like about single-camera is that you have the luxury of shooting a lot of different options.

Men starting out have so many options of filmmakers to connect with artistically and be shepherded by and collaborate with. I just didn't have an older, more experienced me to help me. So I hope all the women making movies now are aware we have the opportunity to be that to new filmmakers.

I've made seventeen or eighteen films now, only two of which have been original screenplays, all the others have been based on short stories or novels, and I find the long short story ideal for adaptation.

I originally went to school to be a filmmaker. And so it's a big part of how I think and how I write. And it inspires me a lot.

What I'm trying to do is to make films - 'I Origins' is one of them - with the new generation of filmmakers. I want to support that.

Too often, you see film makers from other countries who have made interesting, original films, and then they come here and get homogenized into being hack Hollywood directors. I don't want to fall into that.

As a filmmaker, I always try not to concern myself with the outcome of things. I make the movie, and I do that as honestly and good as I can. I don't want to pollute my thoughts with what is going to happen with it afterwards, because I have to work inside-out.

When it comes to filmmaking, we have to deal with ego, anger, and a lot more; barring all these, how the team works towards the outcome matters.