Quotes About Filmmaking

Intimate scenes or a kiss is a very technical aspect of filmmaking. It is extremely mechanical.

Do whatever you're directed to do, and leave the rest of that technical stuff up to the director.

I always think that a director who knows about the technical side, but cares about the acting performances and casting as well, is ahead of the game.

I'm not someone who enjoys long talks, long rehearsals. I'm very technical: I tell my actors, you come in, you sit down, you pick up a coffee, you look here, you say the line. We try it with the cameras rolling, and if it doesn't work, we adjust it until it does. It's very simple.

A lot of directors in television have come up through the technical ranks. They have all the technical skills in the world. They're not all that familiar with actors.

Every aspect of filmmaking has lured me. Although I'm an actor now, one day, I'd like to direct a film. It's not as though I'm all set to take the plunge; I cherish this dream of calling the shots, but only after I groom myself with the right kind of preparation and the technical know-how.

We're able to push the envelope with what we're doing, both on a technical and artistic level, which is the most that any filmmaker can ask for.

You can't act for the editing. You have to leave that to him. So you just go in and do the scene the way you think is right or whatever you're directed to do, and leave the rest of that technical stuff up to the director.

I studied English in college and approached filmmaking from a writing background while trying to learn as much as I could about the technical side of things by making shorts and a webseries.

If one makes a short film with reasonable technical finesse, it will cost between Rs. 50,000 and Rs. one lakh. That's a lot of money for someone starting off.

A lot of directors straight out of film school are very technically minded, but they don't have an understanding of actors or how to talk to them.

Technically, maybe I learned most of all from George Stevens, and among his movies I learned the most from 'A Place in the Sun.' It's a lesson in moviemaking.

A lot of filmmakers understand that the work is done digitally, and it's technically possible to change it late in the game.

Filmmaking these days is so technically advanced. When I started off, we had to wait for two to three months to see the rushes. But now you can see every scene on the monitor and you can see your work immediately.

I think that you can't make a movie without a script. But you also can't make movies without actors. You also can't make movies without technicians. And there has to be just one person in charge of everybody, and to me that one person is the director.

I have an inherent interest in filmmaking and equipment. Some of my best friends are technicians.

It's not a film-maker's job to explain his technique, but to tell his story the best way he can.

With portable cameras and affordable data and non-linear digital editing, I think this is a golden age of documentary filmmaking. These new technologies mean we can make complicated, beautifully crafted and cinematic films about real-life stories.

When you are shooting over a period of six months, you tend to forget how dark or bright it was. And when you are using different technologies, having a look book helps during the final grading of the film. So you can design what the film is going to look like even before the colouring process begins.

I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.

Independent films are where you really get to cut your teeth and have some fun and do the things that mainstream Hollywood doesn't want to do.

We wanted to make movies back in college before Rooster Teeth. Our roots have always been in feature filmmaking, and we've always wanted to go back to it.

I don't storyboard. I guess it dates back to my days in live television, where there was no possibility of storyboarding and everything was shot right on the spot - on the air, as we say - at the moment we were transmitting. I prefer to be open to what the actors do, how they interact to the given situation.

Eventually, it came to this place like, 'I'd like to direct, but I need to find the story to tell.' 'Man of Tai Chi' became the story to tell.