Quotes About Filmmaking

'Dil Chahta Hai' was too raw. We only thought about the film. We never thought where the film was going to go. We wanted to make a film on our own terms.

I feel like when you do things with such a small budget, it actually makes you be more creative... and allows you to concentrate more on the story and the characters. I think that there is something about dirty, gritty and raw filmmaking that makes it feel a little more natural and makes it easier to connect with the action.

I think of Ray Harryhausen's work - I knew his name before I knew any actor or director's names. His films had an impact on me very early on, probably even more than Disney. I think that's what made me interested in animation: His work.

When I was working with Barry Sonnenfeld, I'd watch him set up a shot and talk to him about what he was seeing and what it was to shoot comedy. He told me that a lot of times with comedy, it's not just about getting the joke, but getting a reaction to the joke. That's the laugh - it's somebody's else's reaction to the joke.

As a filmmaker and an actor, my job is to react towards people, but I want a reaction from them.

I think documentary filmmaking is a braver way to make films because it's real, and you're really there.

When I was about 10 or 11, I realised that people made movies; until then, I had thought they just happened.

Ever since my first film, I had more producers than scripts. And I've realised that a certain project requires a certain kind of producer for it to be made well.

I was a big fan of John Cassavetes, his wife, Gena Rowlands, and that era of filmmaking which was about realism and which represented the antithesis of the dreamy escapism you found in musicals.

Guy Ritchie likes to ground things in realism.

I was failed in all other aspects of filmmaking and was completely bankrupt because my dreams were higher than realities. So I started my acting school in a small room with 12 students to prepare future actors and actresses.

When you have really good writing, you're compelled by the actors who are in it, and you may think it's the actors or the design or the filmmaking of it, but then you're like, 'Well, the base is a really rich story that these guys have created.'

I began my filmmaking career by shooting a feature length documentary in China in 2004, the year I graduated from film school.

While making my first film as a director, my father and grandfather used to ask me to explain the scenes by performing them myself first, so that I could improve my skills.

I really learned a lot when I worked on my grandpa's film 'Twixt' and got to be with him start to finish and sit next to him every day. That was my film school.

'Prometheus' was a great experience for me.

I made adult films for over 12 years. Apart from the directing aspect, I did all of it - the filming, the editing and the stills. I shot about 300 movies, which was great fun.

I love working with Darren Lynn Bousman. He is such a cool director with really great ideas.

But, you always have to listen to everyone, because I'm not always right and other people have great ideas, too. I think that makes great moviemaking.

My first feature, I made in France. There's a great respect for the author there - they don't change your stuff.

There are things to love about filmmaking in Greece. People are generous: If you get along well with others, the people around you will give more than they might otherwise be willing to give, more than they're supposed to.

It was always hard to make films in Greece, but making them with friends made it possible.

I made three films in Greece, and they're made under very specific, very limited conditions.

When you're doing a car chase movie, you're sitting in car waiting for places or grips or stuff for quite a while.