Quotes About Filmmaking

I have to tell everyone that when I finish a film and it goes out and is released, I never look at my films again. I don't like looking back. I don't even like talking about 'em! So I'm really digging back in my memory because I don't like to sit and look at my films again.

Obviously if you're Coppola going into 'Apocalypse Now' off the back of the two 'Godfathers,' you're in a much better position than coming off the back of something like 'Dust Devil,' which had scarcely been released, and was pretty much lying around in film cans in different places.

Today, filmmaking isn't just about shooting and releasing. You've to structure the marketing of a film.

Most filmmakers looked at it as a medium to palm off sub-standard stuff. I don't look at it like that. Your TV screen, mobile screen is as relevant as a cinema hall.

For me, shooting, editing, and scoring rely on rhythm.

Whatever my father did were great films. I don't want to remake any of them.

I remember when I first met Jason Reitman with the 'Whiplash' script; he quickly became a mentor figure who guided me through the process and also protected me and made sure that when it came time to actually make 'Whiplash,' I was able to make exactly the movie I wanted to make.

I remember when I told my parents that I wanted to be a filmmaker, and no longer was I planning to be a doctor, one of the first things my mom said to my dad was: 'This is your fault. You watched too many movies.'

I have no great interest in being remembered as a great creative filmmaker.

I loved working with Peter Weir. I think he's one of the greats and will be remembered as one of the greats.

Does anyone remember who shot Kubrick's movies? Do you remember who shot David Lean's movies? No one remembers who shot 'Dr. Strangelove' or 'Barry Lyndon.'

My colleagues and I have to constantly remind each other that we must keep our own view on the world while making films. With 'Chicken Run,' we learned how easy it is to be influenced by outside forces, but you mustn't lose the heart and soul of what you are doing.

My parents used to rent old movies - my whole childhood is in black and white - and it was my dream to make films.

It doesn't really matter what someone's hair looks like or if the sound is perfect. Every director who's made a couple of movies knows that, because you can replace the sound. Or, like, any one shot is not that important, because they all add up together.

I used to be quite negative about going back to Greece and making something, but there is a certain kind of freedom that I've experienced while I was making films in Greece that is hard to replicate elsewhere.

I would love to see more women directors because they represent half of the population - and gave birth to the whole world. Without them writing and being directors, the rest of us are not going to know the whole story.

Disney represents the future of filmmaking in North America.

When I'm shooting a film, I don't look at playback. I don't go and do a scene and then hurry up and watch what I just did. I never look at it so I haven't seen any of it.

When I was making films, we had a lot of time for the fighting scenes. But in TV, we don't have much time to think about how to do the fighting, because there are only seven days for an episode. You have to hurry. This is a challenge.

I have learned to do what I want without hurting anyone. I've learned how to get away with it, with everything. I'm getting away with what I'm trying to do on film but also in my own way.

I'm not particularly fond of the hybrid writer-director or actor-director.

I consider myself more a European director who is from Iceland than an Icelandic director.

Ideally, I like to make my films within 30-40 days, because if it takes longer than that, everyone involved loses interest.

So many films are being shot on the DSLR, that they're all starting to look the same. There's a shallow depth of field. It's a nice look, but I can always identify a film shot with a DSLR.