Quotes About Filmmaking

Pooja Bhatt is a very good director.

The combo of a great story and good director works for me.

Making a film - particularly what I think is a good film - is the result of a team of people, and the end result has many, many hands on it.

The first few films I made didn't look good at all, and I wasn't trying to make them look good. People dig 'em because they like the content.

I very much enjoy working with talented filmmakers who have a good sense for music, who have a strong feel for music and for what music can do in a film.

The good thing about directing a screenplay that you've written is that you see the film in your head as you're writing it and then you see those decisions through to the end.

I did this very cheap movie called 'Love,' and then I decided I wanted to make an even cheaper movie so people don't get involved and can't tell you how to rewrite it or how to avoid losing money. The good thing about doing these quite cheap movies is that you have much more freedom.

My writing has always been more out of the need to write a movie rather than me being a good writer.

Priyadarshan makes good films because he is a good writer.

In 'Winter's Bone,' it's literally the director and the camera operator. That's it. Just a super-small Kubrick crew. You know what I mean? Like, 8 people.

I've always been an angel. Sometimes I transform into a witch only because the filmmaking demands it.

There have been movies like 'Paranormal Activity' or 'Blair Witch Project' in Hollywood that showed you could do movies with little or no money. It doesn't prevent them from creating larger than life spectacles as well.

I personally think a fight scene is the most cinematic thing you can witness because all the elements of filmmaking come together, you know, with the camera speed changes, editing, make up effects and general smoke and mirrors of trying to make it look like you are hitting someone when you're not. It's filmmaking in it's purest form, I think.

I've never had to search for themes. My films just come naturally out of my interest.

When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.

The thing that interested me, there are so many filmmakers I admire - like David Lynch and Quentin Tarantino - they have these themes where there's not much going on, but they were suspenseful.

I think when you're writing films that just come fresh out of your own imagination - I think probably anyone who's done that, there are certain themes or styles.

You can write anything you want on paper, like blowing up the bridge on the River Kwai, but when you actually have to do that as a director, it's not the same. Ninety percent of directing is not creative - it's putting the theoretical into the practical world.

I believe in the theory that one cannot make a good film; it just happens.

I fell in love with filmmaking. I fell in love with criticism. I fell in love with theory, and it made me really dogmatic in my approach to choosing roles.

I'm very strongly in favor of the auteur theory.

The problem with feature filmmaking is that it offers you this mirage of being able to achieve perfection, as the theory of it is that you have control of every part of the film, though in reality, it is as inexact as the next thing in your life.

I have a great little camera, and I had a theory that if the story is interesting, it doesn't matter what medium you shoot it on. You just have to make a good film.

Filmmaking is so much about catharsis anyway. It's therapeutic.