Quotes About Filmmaking

James Franco, Seth Rogen, and Evan Goldberg are the ideal guys to adapt 'The Disaster Artist.'

I don't think it would be possible for me to respect people like Ridley Scott or James Cameron more than I already do. They're gods of filmmaking.

I love James Cameron. I love what he does.

I was really young, like nine, when I saw the first 'Terminator', and I was amazed by the world they created, and everything James Cameron did.

In chatting to directors over the years, including James Wan, they always tell you the war stories. No one ever says, 'Oh, I had a great time on that film.' It's always this went wrong, that went wrong.

Sometimes you do complete run-throughs of scenes, sometimes you break scenes down into little bits. It just depends on what the actors like to do. It's almost like jamming.

There's this guy: his name, Sedik Ali. He's like the African Kurosawa. You know how Kurosawa does stuff from feudal Japan? This guy does the feudal system of Africa.

If my films did better at the box office in Japan, it would be easier to get them made.

I've done two movies with Jim Mickle. He's somebody that I'd love to do another movie with.

Friends who are directors like Jim Mangold or the Wachowskis or Zack Snyder - who, whether they know or not - have really left a mark on who I am as a director.

What Joe and I get excited by, creatively, is exploring all of the different forms of filmmaking.

John Hughes loved improvisers.

John Hughes had such a huge impact on filmmaking.

I was honestly a cartoon kid. I loved cartoons. That was more my dream than anything else. But now, it's the films of people like John Cassavetes and Gena Rowlands. Those are the kinds of characters I want to play, and that's the kind of filmmaking I'm fascinated by.

Most filmmakers, who offer me roles say 'Johnny bhai, come on the sets and do what you feel like.' That isn't the way I like to work.

I joined 'Meru' midstream after my co-director Jimmy Chin had already filmed the 2008 and 2011 climbs.

I think I was born to be a clown. I just haven't figured out how to bring that side of myself into the world of filmmaking. It's much more comfortable for me to cry on a film set than it is to tell a joke.

The reality about shooting films is that you can shoot many jokes and decide later which one works. So it's not worth fighting about jokes.

I wanted to write and direct movies and not be forced to adapt them from a bestselling book.

I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.

I think ever since I was preteen I wanted to direct movies and tell stories.

I met Jill Soloway at Sundance a couple years ago. I was there for 'Crystal Fairy', and she was there for 'Afternoon Delight'. She reached out and wanted to get together.

I didn't have any desire I might have had 10 years ago to shoot every single word that I wrote.

I have to shoot without any breaks. I yell at Herzog and hit him. I have to fight for every sequence. I wish Herzog would catch the plague, more than ever.