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But, in each case, as a filmmaker who's been given sizable budgets with which to work, I feel a responsibility to the audience to be shooting with the absolute highest quality technology that I can and make the film in a way that I want.
And as a filmmaker, I'm trying to unhook myself from this idea that unless you have a brilliant, long, enormously lucrative theatrical run, that your movie somehow failed. And I don't believe that.
My friend, the Dutch filmmaker Theo van Gogh, was murdered in 2004 for having been insufficiently reverent toward Islam.
Ayaan Hirsi Ali
I've tried not to get sucked into the Hollywood hierarchy system. Personally, I don't like it when people are deferential to me because I'm an established filmmaker. It's a blue-collar sensibility.
I decided to be a filmmaker when I was 12. I had utter clarity that this would be my life.
I conveniently was not accepted to film school, which I applied to in 1987, and so I decided I would become a filmmaker instead of a student.
The very first idea I ever had about making a film... my first thought about ever being a filmmaker was when I was sixteen years old and I wanted to make a Viking movie. And I wanted to make it in old Norse, which I was studying at the time. It's odd because at that age that's a stupidly ridiculous idea 'cause how will I ever be a filmmaker.
The terrorists who committed the 2003 Istanbul attacks were locals, that is, Turks. And when filmmaker Theo van Gogh was murdered in the Netherlands last year, the murderer and his supporters were also part of the Muslim community.
In England, I'm a horror movie director. In Germany, I'm a filmmaker. In the US, I'm a bum.
As a filmmaker, I wish we didn't have to do trailers at all, quite honestly. I wish we didn't have to do posters. I wish didn't have to give anything away. I wish people could just come in the movie blind. But as an audience member, I respect that you have to tell an audience that this is worth your time.
In most films music is brought in at the end, after the picture is more or less locked, to amplify the emotions the filmmaker wants you to feel.
To be a lone filmmaker thousands of miles from home with nobody believing in me, that seems romantic.
I am a filmmaker fanatic. I have never been star-struck by an actor once in my entire life.
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 I've learned as a filmmaker is to have some aspect of the movie be something that I admire greatly, whether that's an actor I'm working with, the subject matter, or a book.
What I learned is, don't forget who you are, because that's what's going to make you a filmmaker.
You know, I was really privileged to meet Woody Allen, who is now a filmmaker, let's be honest. He's also an actor. And he's classic. And because I have no conception of what classic fashion is now, I respond to his slightly outdated sensibilities.
As a media artist and filmmaker, I'm constantly considering the role of situational context when creating my work.
At first, I wasn't sure whether I'd be a critic or a filmmaker, but I knew it would be something like that.
I'm a filmmaker, so I always think: When is the breaking point? Sometimes you've got to go beyond the breaking point, and then you catch it. When is long enough? It's one of those things you have to look at, walk away, and go home and find out what it is.
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.
Ah, there's a director. Astonishing, Spike Lee. A feisty guy, but a guy who's, I think, incredibly misunderstood. I think people review his politics or his color as opposed to his filmmaking sometimes. Because he's a wonderful, wonderful filmmaker and a lover of the art.
I'm free - but I'm also not free because there are millions of young people living in Iran. A filmmaker can only do a little.
For city dwellers like me who don't get to vacation in the summer, no filmmaker can so effectively make you feel like you went to France for August, fell in love, got hurt, broke up, grew up, and figured some things out - all in 90 minutes or so. My favorite of Rohmer's cinematic escapes is 'La Collectionneuse.'
I consider my job as a screenwriter to pack a script with possibilities and ideas - to create a feast for the filmmaker to pick from.
A. P. J. Abdul Kalam
John F. Kennedy
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