Quotes About Filmmaking

So much can be learned by any filmmaker by studying his work, in terms of blocking, staging, editing and sound.

I was a great admirer of George Lucas' work.

I've wanted to work with [Kairo aka Pulse director] Kiyoshi Kurosawa, but he has not been making horror movies recently.

I didn't go to film school. I just kept doing videos and whatever. So I guess I learned my education from just experience. Figuring out what worked and what didn't work.

Well, first of all, making films is a collaborative process. You need people. You need people you trust and love and who are your friends. People you can work with.

Obviously, from the experience you get from making videos, you understand where the camera is and how some of the actual technicalities work and so on and so forth.

The nuts and bolts of shooting a film and writing a film are still really difficult. But what makes it easier is the fact that you know you're going to go to work with your best mate.

The ABCs of Death offers us a chance to work closely with a large number of visionary filmmakers to create a film with more jaw-dropping moments than a whole summer of blockbusters.

Perseverance has kept me going over the years. Things rarely happen overnight. Filmmakers should be prepared for many years of hard work. The sheer toil can be healthy and exhilarating.

Directing is a huge amount of work with very little payoff, and a quarter of the money, and nine times more time spent.

When I'm shooting, as much as writing, I see edited footage in my mind, so I work that way, and it's economical.

What attracts me to Bourne's world is that is a real world, and I think I'm most comfortable there. But I come to a Bourne movie to have fun as a filmmaker, to strut my stuff, and that's part of the fun of franchise filmmaking.

As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things.

I was a film student. I became an actor, but I thought I'd be pursuing filmmaking originally.

I remember doing a little student film where we had a guy that couldn't pull focus. We ended up spending three times the amount of time shooting this thing as opposed to if the guy could've just pulled focus.

I am a student of cinema, and I love filmmaking of all kinds.

To make films, you have to have something to say. To have something to say, you have to be a student of life. And to be a student of life, you have to be feeding yourself with what life, politics, society, and your family fuels you with.

'Saw,' in many ways, was like my student film. The first crappy student film you don't really want people to see.

Now, after the communist take-over in 1948, the amount of feature films produced dwindled to three a year, while the school was, you know, every year another three, four, five students.

I didn't go to film school; I studied fine art - I learned how to be a filmmaker on everybody else's money.

I started in high school, and in college, I studied radio, TV, and film. The plan was to be a filmmaker, and it was always comedy.

I always say I thought I was making this exciting action movie but I actually always end up making character studies. Every single one.

The big studio era is from the coming of sound until 1950, until I came in... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.

I make movies for me and posterity. I'm more scared of history than I am of the studio.