Quotes About Filmmaking

Kenny Lonergan, as a filmmaker, doesn't tell stories so much as he observes them, which is to say, his films don't come pre-digested. You have to bring your own enzymes. It's a more gripping and challenging experience.

Kevin' was shot in 30 days.

My friends and I started making films when I was still in kindergarten.

When I read 'Room,' I absolutely loved it, and I thought I knew how to make it.

I don't have incredible knowledge about films or of filmmaking history; I'm not that kind of person.

Kodak has always represented innovation that is approachable while delivering the craft of filmmaking.

Obviously, I've made several films in Korea, so I'm very well accustomed and acclimated to Korean filmmaking.

My grandmother, if she were still alive, she'd be very proud that I held through and did a film in Korean and didn't compromise and then start using that foreign language of English.

I'm Kubrick without the O.C.D.

I wanted already to be a filmmaker after I saw 'La Dolce Vita.'

As an Asian immigrant coming in, for the longest time I still had problems getting in the lot because they're just not used to seeing someone like me who's directing these films. I do think ultimately there's a point where we can kind of just shed that label and become filmmakers.

I got into film-making because I was interested in making entertaining movies, which I felt there was a lack of.

I like directors who have worked as actors. They know the experience.

Lucas wasn't paying for a movie; he was buying his own creative freedom.

Lucas had narrowed his lead threesome down to two competing groups: in one was Walken, Will Seltzer, and Terri Nunn, a trio Lucas described as "a little more serious, a little more realistic"; in the other, Ford, Hamill, and Fisher, a group Lucas called "a little more fun, more goofy.

Then we had focus problems on the camera, and the assistant cameraman was run over by a car," Lucas recalled with a sigh. "Then we had a five alarm fire. That was a typical night.

You must live life in its very elementary forms. The Mexicans have a very nice word for it: pura vida. It doesn't mean just purity of life, but the raw, stark-naked quality of life. And that's what makes young people more into a filmmaker than academia.

I think I read films having grown up around the pre-production and post-production aspect of the filmmaking medium, a lot more than most young people who are in acting would have experienced. I do think about scripts in a different way. I can't just read a script as an actor. I don't know how to do that.

It helps being from somewhere other than Hollywood, not having grown up with that sense of film-making. I really wasn't exposed to that as a young woman.

When I talk to some of the younger filmmakers, they are so worried about their films that, eventually, this state of being worried reflects itself in and helps the final work. Whereas, with projects that are meticulously planned, you look at the end result and it is full of emptiness.

I used to make little movies when I was younger. I'd make my friends be in them and then edit them.

The younger generation of filmmakers is concerned about our roots, rather than making films with characters plucked out of the cloud or some English DVD. Actually since 2000, Tamil cinema is going through some positive changes.

Youngsters are coming up with so many new ideas and doing small budget films, which is good. Even my daughter thinks of some subjects that are strange and different. But when I discussed it with some writers, they said it's fantastic. So I think young people are able to think something different. It's great!

The most honest form of filmmaking is to make a film for yourself.