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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.
The world is a crazy, beautiful, ugly complicated place, and it keeps moving on from crisis to strangeness to beauty to weirdness to tragedy. The caravan keeps moving on, and the job of the longform writer or filmmaker or radio broadcaster is to stop - is to pause - and when the caravan goes away, that's when this stuff comes.
There's got to be something you want to tell and that's the engine which spurs all of the work you have to do in order to create the story, but you have to love some sort of nugget of what you're telling to be a filmmaker.
Film is an emotional medium; it's not a logical medium. It's not an intellectual medium, so every decision you make as a filmmaker and an actor has to be emotional in some way, even in the rejection of logic.
One of the things you do as a writer and as a filmmaker is grasp for resonant symbols and imagery without necessarily fully understanding it yourself.
It's like getting into film - I didn't say early on, 'I'm going to become a filmmaker,' 'I'm going to show my work at MoMA.' When you start to think those things, you're in trouble.
There will always be competition, especially in showbiz. There's always someone younger and hungrier standing behind you; there's always someone with more contacts; there's always someone whose grandfather or father is a filmmaker. I think your job is just to be there 100% - you work hard, and there are no shortcuts to success.
War is so complex; human nature is so complex. There's no filmmaker who has ever figured it out perfectly.
There is no reason why challenging themes and engaging stories have to be mutually exclusive - in fact, each can fuel the other. As a filmmaker, I want to entertain people first and foremost. If out of that comes a greater awareness and understanding of a time or a circumstance, then the hope is that change can happen.
My three Ps: passion, patience, perseverance. You have to do this if you've got to be a filmmaker.
As a writer, or as a filmmaker, you have to present yourself, and part of what yourself is is what you're interested in, or what you think is funny, or what you think is sad, or what you think is horrible.
A filmmaker has almost the same freedom as a novelist has when he buys himself some paper.
In my view, the only way to see a film remains the way the filmmaker intended: inside a large movie theater with great sound and pristine picture.
In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.
As a filmmaker, I always try not to concern myself with the outcome of things. I make the movie, and I do that as honestly and good as I can. I don't want to pollute my thoughts with what is going to happen with it afterwards, because I have to work inside-out.
My style of songwriting is influenced by cinema. I'm a frustrated filmmaker. A fan once said to me, 'Girl, you make me see pictures in my head!' and I took that as a great compliment. That's exactly my intention.
You want to be a writer? Start writing. You want to be a filmmaker? Start shooting stuff on your phone right now.
Susanne Bier's work I've always really enjoyed. She's just such a great filmmaker; she's very cool and very sexy - that always helps, too.
I want to go make an original movie. It's all very personal, but I want to define myself a little bit more as a filmmaker and hone my craft.
'The Movie' is something that I made with some friends of mine in L.A. My friend, Luke Eberl, is the filmmaker. He shot this movie and asked a bunch of his friends to be involved with it. I just saw him the other day and there is no money to finish the film. But, you know, I literally have a cameo in it.
I live in New York City, the stories of my films take place in New York; I'm a New York filmmaker.
I've always considered myself a filmmaker who writes stuff for himself to do.
A filmmaker doesn't have to suffer to show suffering. You just have to understand it. You don't have to die to shoot a death scene.
I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo.
I think as a filmmaker my first contribution would just be to make a good movie that people would love to see and leave the theatre charged, with a sense of excitement.
John F. Kennedy
Martin Luther King, Jr.
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