Filmmakers Quotations

In Mexico, there are good filmmakers, but they didn't always have the opportunity to show their work. But since 'Amores Perros,' many of these filmmakers had the opportunity to show their films, and they have a newfound energy for cinema.

It's so tough to get movies made in Ireland anymore. A whole generation of Irish filmmakers doesn't have the resources to get a movie made.

Many filmmakers portray teenagers as immoral and ignorant, with pursuits that are pretty base... But I haven't found that to be the case. I listen to kids. I respect them... Some of them are as bright as any of the adults I've met.

I think journalists and filmmakers are keen observers. And actors must also be sharp observers as they draw their characters and their stories from what they experience around them. After all, that is what actors, filmmakers, journalists are trained to be: observers. And then they do something with their observations.

All I want is the same opportunities as the filmmakers I grew up admiring. But you know, I've had lots of amazing opportunities to do the movies I wanted to do. If I could write my future, I'd want to keep making character-based films that can make use of my voice as a filmmaker.

I know many filmmakers, and shooting in IMAX is challenging. Filmmakers love the vividness and power of those big images.

Most filmmakers aren't very interested in history. They worry constantly that people will be bored.

It's up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You're either courageous or not. You have to find a way.

I was very inspired by Les Blank's film 'Burden of Dreams.' I think what's unique about his film and the two I've made is that they're close examinations of filmmakers and how their own emotional experiences reflect in the material they're rendering, and vice versa - how that material sometimes colors their own lives.

I think, on a larger note, that filmmakers and studios should start to tuck it in a little bit, because films wouldn't have the pressure they have if the word wasn't out about how expensive they were.

I want to challenge myself to see where my limit is and experiment with a lot of different films. A lot of artists from Asia focus too much on their Asian background. I don't want to let go of my background, but to be a success in the U.S., which is my goal, I realize I need to surround myself with American filmmakers and producers.

We don't want to be our own niche. We're filmmakers like everybody. How many years in a row are we going to talk about the fact that we make films and we are women? Enough already.

I have no directing ambition whatsoever. And as long as I meet filmmakers like Tom Hooper, Stephen Frears, and others who allow that collaboration, I can't see why I would ever want to direct.

My home is Montreal. I will stay in Montreal and continue to make movies in Montreal. But it's also very healthy for Canadian filmmakers to work outside the country. You learn so much.

Early 1900s Hollywood was full of farmers battling to hold onto their land against a new influx of filmmakers who dug Hollywood's reliable weather and diverse landscape.

It's very funny because every time I make a movie, and I've heard this re-echoed by other filmmakers and actors I have worked with, you kind of feel like you're naked again. You have to figure it all out from scratch, as if you had never done it before.

Filmmakers who use narrators pay a price for taking the easy way: narrated films date far more quickly than films without narrators.

It's more like can I build a group of characters and can I tell some universal truths that feel real and aren't formulaic in the spirit of filmmakers gone by who've told American stories that were personal and universal as well.

Yeah, it's odd when you look back at your own work. Some filmmakers don't look back at their work at all. I look at my work a lot, actually. I feel like I learned something while looking at stuff I've done in terms of what I'm going to do in the future, mistakes I've made and things at work or what have you.

Filmmakers are always in a bubble; along with our crew or writer, we don't really get to socialize with other filmmakers, so the great thing about Sundance is you can see many other filmmakers doing the same thing you do.

This generation of filmmakers is very good. They're seasoned, for some reason.

I love Pixar films; I think they're the greatest filmmakers in the world. I love Disney films. 'Tangled,' was great. I loved 'How to Train Your Dragon,' the Dreamworks film. But it's not for me. I don't want to make a film for families; I want to make adult films.

Hollywood is a wonderful machine for making big movies. In France, we make smaller and more personal films, but if things keep changing, this will disappear. The industry in Italy is practically gone. Cinecitta now is used mostly by filmmakers from others places, like Martin Scorsese.

'Beyond the Lights' was my fourth film. I gained a lot of knowledge, and I'm excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of 'What's next?'

I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.

I'm transitioning to television and film, but ultimately, I want to have a stronger presence on the web and be able to curate the content that I want to see. To bring attention to other filmmakers and writers.

I've always played that edge of fact and fiction. I used to be a filmmaker, and certainly in film that's a line that filmmakers cross more readily and more easily than novelists.

I was part of a writers' collective with 21 writers and filmmakers called the San Francisco Writers' Grotto. We had our own office space in this old converted dog and cat hospital, and we had a basketball hoop outside. I'd bring my dog to work every day and write.

In anything I've ever written, all the characters sound like me, which I don't think is a bad thing. It makes sense. But I had always admired filmmakers who made movies that didn't sound like them at all.

Lawmakers misrepresent the facts when they call the manufacturing deduction known as Section 199 - passed by Congress in 2004 to spur domestic job growth - a 'subsidy' for oil and gas firms. The truth is that all U.S. manufacturers, from software producers to filmmakers and coffee roasters, are eligible for this deduction.

Films don't decide my whole life. They are just a part of who I am. What I do in my personal life should be of no concern to the filmmakers or the fans.

I really want to be the black Tina Fey, where I just am able to produce my own content and produce other content for other minority filmmakers and put their voices on screen and basically be able to have free range to produce.

Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn't really like a typical Hollywood movie. These are true artists, and have a certain amount of freedom when they work, and they're more like independent filmmakers making their way through big studios.

It's not my style to either wear minimum clothes, to strip, or to even be comfortable with a sex-symbol label. I just want to do good work instead of sporting such meaningless tags. Sex sells, but to a small extent, not always. And this is what filmmakers have to accept.

It is an entirely selfish decision to turn producer because I want my kind of cinema to last and flourish, and helping young filmmakers make those kind of films is the best way to do it.

Filmmakers have to commit to making 3-D films properly like Jim Cameron did and not do cheap conversions at the tail end of the process.

I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.

For filmmakers who've made multiple movies, they have experience, but they only have experience of themselves as a filmmaker. Whereas I'm bouncing around from different skill sets: the organizational ability of Ridley Scott to the precision of a Ron Howard to the artistic sensibilities of a Peter Weir... to the scope of a Tom Hooper.

As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.

I think it's important that filmmakers look at the technology and figure out how to make the theatrical experience a little more exciting.

I'm drawn toward filmmakers who have a very distinctive voice. I really appreciate people who push themselves and, therefore, push the medium forward.

It is an honor for me to take part in Canon's Project Imagin8ion, partnering with a brand that is empowering young filmmakers and is at the forefront of technology.

The fact is that HBO is doing the kind of films and the kind of stories that the movie industry used to do. You look at a lot of the specialty sections of studios that have gone under... and there's no doubt in my mind why filmmakers and screenwriters and actors are ending up at a place like HBO. They do it better than anybody.

We've all been disappointed by new installments of the stories we love. But with all this talk of filmmakers 'ruining our childhood,' we forget that right now is someone else's childhood. This is their time. And I have to build something that can take them to the same place those earlier films took us.

What's interesting this year is we have filmmakers who are straddling two continents. You've got filmmakers really crossing borders and going back in recent history; it's a much broader awareness of the world at large.

Working with Ridley is working with one of the great filmmakers and one of the great raconteurs. You know, it's like, a dinner with Ridley Scott or a dinner with Martin Scorsese? You just want to cut your arm off to get those.

We knew we were working with one of the biggest filmmakers of our time.

When filmmakers make a movie, they make a movie for the large screen.

There are more Latino movies, made by Latino filmmakers and more people interested in Latino cinema.

The fact that men and women are nominated this year in films that women have directed is good for women filmmakers generally,

When I was a young filmmaker starting out, I was really snobby about all the affirmative action for women filmmakers because I felt it should be about your talent, and I made a film that won awards, and people wanted me.

The primary reason why producers and directors and filmmakers love Toronto is the audiences here, ... They've been incredibly supportive over the years of emerging filmmakers and it's amazing how directors remember.

We're giving filmmakers the chance to network with each other and with people looking to distribute movies. Also, local residents can enjoy some great cinema.

Many musicals are about putting on a show and, when that happens, you know the filmmakers are really talking about their own process of bringing ideas to the screen. The story is a vehicle for looking at other things,

She was perhaps one of the greatest filmmakers of all time, and yet her name will forever be linked to the horror of Nazi Germany. There is no other woman in the 20th century who has been so admired and vilified simultaneously.

Meeting all the other filmmakers has been such a blessing,

One of the struggles and one of the exciting things for South African filmmakers is: What stories are we allowed to tell? I hope for the industry that more and more, it will tell whatever stories it likes.

Music is a very, very powerful tool that filmmakers use to sway people into emotions that they intend you to feel.

My advice to American filmmakers is to marry a European. I'm not kidding. Otherwise they don't qualify for international co-production treaties.

I came up with a unique twist on standard instruction techniques and I felt that this would make a really big difference. So I partnered with a couple of filmmakers in Hollywood and we made the DVD.

I am filled with awe that filmmakers have the capacity to stir us and give us a sense of wonder. Film, like no other medium, makes a visceral appeal to our humanity.

I'm always coming back with too much footage. Most filmmakers do, but I'm always surprised that it keeps happening to me.

If anything, the films that succeeded this summer and the films that failed have emboldened me and filmmakers who share my sensibility that we don't want to just churn out the same old thing,

I don't think it's so great they're coming out a week between each other or whatever. It's a disaster, ... The point is, those guys do great work. That's why it's unfortunate they're coming out at the same time. Filmmakers won't compare them, but everybody else will.

There is a great debate going on on where we are going in the post-9/11 world. This is part of the process of filmmakers saying, 'We would like to join that conversation'.

I admire a lot of Spanish filmmakers and actors. I grew up watching a lot of Spanish films and novellas, and there's just so much talent out there.

He creates characters that draw in an audience no matter what language they speak. His insight into the human heart crosses all boundaries. I know he is also making a huge influence in the lives of younger filmmakers and actors.

I was joking with my mom that all Jewish mothers now will want their kids to be filmmakers instead of doctors. Because you can make one film, and suddenly you're directing a 'Jurassic Park' movie.

I think the filmmakers and I were interested in telling stories that weren't well known,

It had a huge impact. It was really a film that everyone became instantly fascinated by and it emboldened filmmakers and studios to believe that if you had the right concept and a great marketing campaign, it did not matter what the budget of the movie was.

I think that the filmmakers entering the field today are from the first generation to openly challenge the legitimacy of religion.

I think some people thought that the event was advocacy of homosexuality. It wasn't. It isn't. Nobody could think 'narratives, filmmakers and spectatorship' is a statement about advocacy.

I think that all the talented filmmakers sort of share, I think, a sense of allowing magic to happen; of creating a stable and secure environment for performers to feel they can push to the end of their ability.

It is important to keep the filmmakers interested in you so they can offer you everything and anything. We actors are not given work on the basis of audience poll; the filmmaker will cast you after they see and like your work. It is essential to do different kind of films and not get typecast.

I was actually shooting 'Warm Bodies' on the day that '50/50' came out, which I don't recommend to other filmmakers because I was sort of a wreck. Actually, it was good for me, because I had work to do, so I couldn't obsess all day and be checking how '50/50' was doing!

I think filmmakers in general are, as the tools become more and more advanced, you're able to tell stories in a way that I think is more realistic. The technology just wasn't there up until pretty recently, and it takes a bit of time for the normal artistic way of approaching something to become a mainstream thing.

Over the past 12 years, Avid has played an important role as an official provider for the Sundance Film Festival, and we are pleased to see the company continue that commitment in 2006. As hundreds of independent filmmakers converge on Park City over the next two weeks, they'll have unique opportunities to experience some of the best up-and-coming film projects, network with an exceptionally talented peer group, and connect with industry-leaders like Avid - to learn about the latest tools and technologies that can help them improve their craft.

Our filmmakers are very, very happy because the movie scored a 90 in the top two boxes (excellent and very good). We have wonderful word of mouth working for us again.

People have a tendency to stereotype shorts as being a means to an end (for filmmakers to) eventually produce a full-length feature. On the contrary, these short films stand on their own.

My work is better, maybe all filmmakers are better, for Polanski's imprint on cinema. He created language for all of us to use, there is no question about that.

I think of the present digital/IT evolution happening in the global industry as the most exciting period I have ever witnessed. And somehow new ways of distribution will come into play but let's start with reopening the Chauvel for the independent filmmakers of Sydney and Australia. In the wealthiest city in Australia, can't we raise $250,000 or so to keep our film culture alive?

I studied English Literature. I wasn't a very good student, but one thing I did get from it, while I was making films at the same time with the college film society, was that I started thinking about the narrative freedoms that authors had enjoyed for centuries and it seemed to me that filmmakers should enjoy those freedoms as well.

It has recently come to our attention that Apple Computers' new television commercial for the Intel chip features a shot-for-shot recreation of our video for 'Such Great Heights' made by the same filmmakers responsible for the original. We did not approve this commercialization and are extremely disappointed with both parties that this was executed without our consultation or consent.

I thought it would be interesting to hear a conversation between filmmakers instead of just a filmmaker gassing on about his own movie. Steven is so literate about this stuff and a great film journalist in his own right and a good friend, so it worked out. He also loved the movie and volunteered to do it.

That's the thing about leaks: sometimes they aren't misinterpreted or false. They're real story elements that the filmmakers were hoping to introduce to the audience in a darkened movie theater.

We encourage the filmmakers to do this and we want to see more of it. Ultimately we want students to see what the industry is all about so they can further their interest and maybe study it in college.

Tribeca Film Festival Doha will promote Middle Eastern themes and filmmakers, but not exclusively. Approximately 40 films will be presented at the new Museum of Islamic Art and in cinemas across Doha. Innovative work by established filmmakers will be shown alongside the debuts of newly discovered directing talents.

Tribeca Film Festival Doha will be both an industry festival and an audience festival, not just an event for insiders. Community outreach will be a major part of what we're doing. We'll put filmmakers in touch with local, regional, and international audiences.

We were interested. There was not a lack of co-operation from us. But the filmmakers got sponsorship from Adidas - not Reebok. And Adidas sponsor Newcastle, while Reebok sponsor Liverpool.

The rate at which we're growing lets us know we're being recognized. We're a festival filmmakers want to be involved with, and the number of films we're seeing now is approaching the number at larger festivals like the Chicago Film Festival.

The fact that we're getting so many world premiers is, I think, a sign that filmmakers are hearing good things about our festival and are feeling comfortable showing for the first time ever here. We're really happy with that.

We knew we had a terrific combination of films led by some of the biggest stars in the world, created by some of the top filmmakers in the business today, and we're thrilled that the audience responded in such a big way. We look forward to continuing the success this fall.

There are many documentary filmmakers who have a tough time because they don't really get what they need to do what they want. There are so many people with good visions that should be encouraged and helped. And they will deliver, I'm sure.

We're trying the same thing for filmmakers - a platform for our users to express themselves creatively.

You have to beg, borrow and steal, ... You have to swallow your pride and be able to ask for help, for money. A lot of people are willing to help independent filmmakers if they think there's a chance they're going to finish their film.

When you look at 2005, which overflowed with remakes and sequels, I think that the Academy recognized that the best films came from independent filmmakers not the big studios.

We welcome Jon to Universal to build with Donna the kind of dynamic partnership that will give our slate even greater dimension and stability. Jon brings with him great energy, taste and experience. I am certain that, working together, he and Donna will enable Universal to retain its prominence as a top creative home for filmmakers and talent.

Filmmakers have to really find a unique take on something if they're going to explore an already-explored genre of movies.

Filmmakers are feeling distant and alienated from the direction of the country. It's important for Hollywood to both entertain and reach out and touch upon subjects that are not simply about the American Dream.

Today we're at the beginning (of the genre) but there's a great opportunity for independent filmmakers to build a direct relationship with their audience.