Quotes About Filmmaking

I became passionate about filmmaking. The thrill to make something out of nothing and to go out there to see whether it will work or not attracted me.

I thought I was going to make bigger films for mass audiences. And I wanted that. I actually had in mind a James-Bondian thriller.

I'm still shooting on low budgets, though none of my movies has lost money, and I rarely get sent anything that stars a guy or is a thriller or is seriously dramatic. And I would love the opportunity to do those things.

The first film I made was when I was 13 and it was called 'The Dogs That Ate Detroit.' It starred my Saint Bernard Barney, and it was a killer thriller with oodles of special effects that were cutting edge for the time.

Thrillers are an enormous amount of fun for filmmakers.

We grew up on Scorsese and Coppola and '70s crime thrillers.

I am in love with the idea of doing a movie in 3D. I think 3D would be great in a kind of realistic normal story without throwing objects to the camera, but using the 3D on the emotions in an intimate story.

All of our movies are lower budget, and that makes them more interesting, too: we have to come up with solutions other than throwing money at problems.

Saturday Night Live is such a comedy boot camp in a way, because you get to work with so many different people who come in to host the show and you get thrown into so many situations and learn how to think on your feet, so filmmaking actually feels slow, in a good way.

There are two kinds of directors: There's the kind where two plus two equals four, and you have to help them figure it out. And then there's the kind that throws you in a room, locks the door, sets the house on fire and films it.

I always tell aspiring documentary filmmakers, 'You have to go into it because you love it; if you go into it for the money, you're an idiot.' The number one prerequisite is you have to be intensely curious. If you love learning and trying to make people figure out what makes people tick, it's the best job in the world.

There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.

I really believe that, as filmmakers, we have a duty, which is, if we're asking people to pay a premium price for a 3D ticket, we have a duty to deliver a premium product.

Filmmaking is a real democracy - it's up to the audience to vote with their tickets.

Filmmaking is a great adventure. I'm as excited as a kid to be given tickets to fly suddenly to England, South Africa, America, everywhere. I'm still a 13-year-old kid, flying.

I started with 'Baaghi,' in which I cast Tiger Shroff. And then with director Imtiaz Ali's entry in our production, I tried totally different films like 'Tamasha,' etc.

I've made movies that cost less than one car chase.

I encourage first time filmmakers to be ambitious and take chances and risks, because you never know where your career is going to go.

Honestly, I do spend most of my time between films trying to get the next one made.

I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.

I feel safe in saying this, and that is that Peter Weir is without a doubt one of the greatest filmmakers of all time. I'd open a door in a movie for him if he asked me to.

I'm very fortunate to have the privilege of working with directors like Bill Condon and Paul Thomas Anderson, who I think is one of the greatest filmmakers of our time.

I'd like to do a film in Canada, but it's too difficult. National Film Board funding takes too long, and there's too much paperwork; by the time the film is approved the topic is dead and gone.

A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.