Quotes About Filmmaking

I'm not the guy who does slo-mo, or I'm not the guy who does splashing rain or doves flying or anything; that's not me. Every film, I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.

I had a big problem working with stars, because they are too expensive and have too many demands. Their names help you raise the money to make the movie, but then they demand close-ups. They change things. You end up doing things at their service instead of servicing the film.

It's hard to make a film in Britain. It's hard to raise money. The best stuff that is shot on film in Britain is usually shot on film for television.

Even bigger directors like Mani Ratnam and Ram Gopal Varma have faced flak, that doesn't mean they've shied away from filmmaking.

I don't write on set. I also - in a funny way, I don't really differentiate between the writing and directing. I think it's all sort of the same thing.

'Balls of Fury' was my first time directing, and that's a movie that I think parts of it are great.

I think filmmaking is a gamble anyway, right? You never know the results from the start.

Making a film, every film, is a big gamble, large or small. The more that you do it, the more you're aware of that.

Whatever understanding I have of filmmaking is because of my stint as an assistant director on 'Gangs of Wasseypur.'

Filmmaking is not about gender. You cannot ask a president in a festival like Cannes to have, like, five movies directed by women and five by men.

It is not easy to be a filmmaker but it has nothing to do with my gender.

Miyazaki is a genius. He is the legend.

David Fincher is a genius.

I was fascinated by the story of FW Murnau, one of the most famous directors in Germany, where I come from.

You end up giving up half your salary every time you make a movie because you need the money to make the movie you have in your head.

But the process of making a film is not glamorous. Certainly not my films.

I don't really make films in Denmark. 'Bronson' was shot in Rottingham, 'Valhalla Rising' was made in Glasgow, and 'Drive' was made in Hollywood.

I knew I needed to make a studio film - not for any financial reason, but because, as a filmmaker, and especially as a female filmmaker, you have to break through the glass ceiling.

I think the only thing filmmakers can do is try to make good movies and make them as long as they allow us to keep making them. But at the end of the day, it is a business, and if audiences don't care, there's nothing we can do. It'll just go away, I guess.

I'm a filmmaker, so I always think: When is the breaking point? Sometimes you've got to go beyond the breaking point, and then you catch it. When is long enough? It's one of those things you have to look at, walk away, and go home and find out what it is.

When you're shooting a feature that costs $200,000 a day with a crew of 250, you don't want accidents; you want to know exactly what's going to happen. But with a documentary, you don't, so you have to be sensitive to accidents because that is where the gold is.

I would like to direct good actors, and there are good actors who are stars.

I always like to work with really good filmmakers and really good actors.

Krishna Vamsi is a very good director.