Quotes About Interpretation

When I am filming a movie, I think I tend to do what I want with my character.

It's cruel to compare two actors working with two different filmmakers on two different characters.

The filmmaker's got to make it his story and the actors have got to make it their story.

For so many filmmakers, cinema is a means to an end.

The great composers I worked with along the way, I always felt they were filmmakers more than composers. They would talk about the story rather than the music.

It's not always clear whether the filmmaker intends our alienation or is even aware of it.

The filmmakers have a story they want to tell, and they go get the material they need for it. The film either exceeds or fails to meet up to their expectations or it's different.

I'm big into not drawing conclusions for people. I think that's what makes for the most exciting, compelling films. I get bored when the politics of the filmmaker are the subject of the film that I see.

As a filmmaker, the only way that I understand how to make a film is holistically.

You can tell so much about somebody by the films they make, and it's only while I approach this do I now realize how much of the filmmaker you can see in their films.

I'm not a writer, although, as a filmmaker, you are an author in a certain way.

As a filmmaker, you want people to understand and get what you do, and it's a lot to ask for.

My take on it, like a filmmaker or actor, is if you have much more colors within your creation, eventually people will appreciate what you're doing, and the other stuff is secondary, like critiques or even awards or anything else, as long as people enjoy it.

I think it's really hard for filmmakers to adapt books.

Every filmmaker has his own vision, and when they write a film or characters, they see certain people in those characters.

When I got to filmmaking, the most democratic of environments where anybody could say anything, those were the best environments, but what you don't want to assume is that you know what the audience is thinking.

All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script ,and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.

I am a serious filmmaker, and I see the whole process of filmmaking more as a piece of art.

You should bear in mind that almost all my documentaries are feature films in disguise.

'Frances Ha' is the closest final product to what I had in my head of any movie I've made. I'm not entirely even sure why that is.

A movie is very different when you're writing the script and you're building a story compared to what the final product is.

I think finales are always so hit or miss because they're so personal. When you do a finale, it's always up to the person watching it.

What finally is beauty? Certainly nothing that can be calculated or measured. It is always something imponderable, something that lies between things.

To me, casting is all about finding a character within the actor off the screen as much as on the screen.