Quotes About Filmmaking

For 'Filth,' we had about 12 producers on the thing. The opening credits go on for months. Most of them are actually financers rather than producers. And the only way that we could raise the budget without interference from a studio was to have a lot of different financers on board.

I'm really interested in having a studio one day and being a filmmaker.

Most films I work on, the people making the film are constantly second-guessing the executives of the studio, the producer, and the audience. It is very hard to accomplish anything in that situation.

I like studios. I just don't like bureaucracies.

It's up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.

But what's interesting is now - and not only in horror, but across the board - the studios basically only make B pictures with A budgets. That's the biggest difference.

I don't like to deal with studios.

I don't mind being in studios, and I don't mind being out in nature. They're two different ways of making movies.

We don't program movies. We don't run studios. We make movies.

I started making my own short films as a way of being able to give myself something to do and to study my craft.

I put a lot of time and energy into studying the art of filmmaking, but I hadn't put a lot of energy or time into the art of learning how to manage people.

The very first idea I ever had about making a film... my first thought about ever being a filmmaker was when I was sixteen years old and I wanted to make a Viking movie. And I wanted to make it in old Norse, which I was studying at the time. It's odd because at that age that's a stupidly ridiculous idea 'cause how will I ever be a filmmaker.

I'm a much better filmmaker than painter. But studying it did make me visually acute and taught me lessons like being economic: Say something once and you don't have to say it again.

When I was in New York, a lot of my friends were studying filmmaking and would bring their scripts to me, as I was a good script doctor. I would read their scripts and make corrections to them for $20 per script and was fascinated by films.

'The War' is a stunning achievement in filmmaking.

The art of stunt-making is not about falling down; it's about getting the shot. Creating stunts is creating heroes.

If you ask me whether I can direct, I can. In fact, I have shot several songs, scenes and stunts. When certain directors of my movies were not able to be there for some reason and had asked me to help out, I have directed. But to helm an entire movie is a different art altogether.

As far as I know, there is only one other director who was a stuntman - guy named Chuck Bail who directed 'Gumball Rally.' Doing stunts isn't exactly a common path to directing.

I've followed Mysskin sir's work, and I really like his style of filmmaking.

It's much easier to make a movie with kind of stylistic pyrotechnics because you can hide behind that if there's a gap in the story.

You have to edit the material. That assumes that some kind of a mind is operating in relation to the material. Not all minds are the same. Every aspect of filmmaking requires choice. The selection of the subject, the shooting, editing and length are all aspects of choice.

One of the things I've learned as a filmmaker is to have some aspect of the movie be something that I admire greatly, whether that's an actor I'm working with, the subject matter, or a book.

Expectations that black directors have to make black films about black subject matter are, to me, kind of absurd.

That is - the use of the subjective camera is an idea that's been around in movies for a long, long time. And it's an idea that was seized on very notably by Sam Fuller and by Alfred Hitchcock in two different very kind of - otherwise very different styles of filmmaking.