Quotes About Filmmaking

I'm a huge fan of Akira Kurosawa, a big Hitchcock fan.

The thing that is so great about Ang Lee is the diversity in his filmmaking, from 'Brokeback...' to 'The Hulk.'

I directed a short series for Hulu called 'Paloma,' and being in an editing room, I learned a lot about acting. It gave me a new bolt of energy in terms of my interest in filmmaking because it made me realize how collaborative filmmaking can be and also that you're not just limited to one job.

When Ajay was shooting 'U, Me Aur Hum,' I helped him out with the production. It was a great learning experience being behind the camera.

That's the beauty of filmmaking: it's extremely humbling because you do it all over again all the time.

David Ayer is known for being a very serious filmmaker, but he has a very great sense of humor.

Working with Jagmohan Mundra was a treat. His sense of humour is incredible.

I'm British; I live here, and I've always made my films here. And we're on a journey in British filmmaking right now. We're attracting big films again. 'Star Wars' filming here will employ thousands of people. We're world-class in so many of the craft elements, and the vibrancy of our filmmaking is strong.

I don't use film cameras. I don't do visual effects the same way. We don't use miniature models; it's all CG now, creating worlds in CG. It's a completely different toolset. But the rules of storytelling are the same.

'Bad Boys', which Bay made when he was just twenty-eight, having never made a movie before, having done a string of commercials and music videos with artists ranging from Donny Osmond to Meat Loaf, grossed more than $140 million worldwide.

I'm deeply appreciative that many people have enjoyed my films, films that I made in my own style. The successes have helped me learn how to make films free of expectations and focus solely on the pure filmmaking aspect, without worrying about how much money it'll make.

There's some projects you're - where you're worrying that the continuity isn't right because people aren't watching after your hair or wardrobe or props, or you're not sure you're getting shot at the right angle.

The one thing I am very strict about is that I don't like spending a lot of money on movies because the more money you spend, I think the worse that they get.

The worst thing for a filmmaker is for a film to be labeled as pretentious or heavy-handed.

The worst thing you can do to a filmmaker is to walk out of his film and go, 'That was a nice movie.' But if you can cause people to walk out and then argue about the film on the sidewalk... I think we're all seeking dissension, and we love to affect an audience.

The worst thing for me as a filmmaker is to watch on the iPhone but you can't stop it. I think you have to adapt to it.

The worst thing is that filmmaking is an expensive medium and money corrupts cinema right at the beginning.

As a filmmaker, I wish we didn't have to do trailers at all, quite honestly. I wish we didn't have to do posters. I wish didn't have to give anything away. I wish people could just come in the movie blind. But as an audience member, I respect that you have to tell an audience that this is worth your time.

At the end of the day, making 'Monster' was unbelievably hard, as making any movie is. And the only thing that made it worth it is not those awards and all those kind of things that I can barely remember because I was so overwhelmed. It was really that night in the editing room, that day on set. It was those things.

As far as the filmmaking process is concerned, stars are essentially worthless - and absolutely essential.

There's a period where you feel very hinky and low about yourself, like, 'That was a lot of time, and there's nothing to show for it.' I've tried to tell myself that if you're going to be a filmmaker, you can't really talk like that about time, because you'll hate yourself or feel very worthless.

Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.

With comedy especially, it feels like such a clear-cut thing to be a writer-director. There is so much nuance and tone in a comedy that it's hard to contextualise it in a script.

Tony Kaye is great with that kind of stuff. Up until American History X, he had only done commercials.