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I love my work, apart from when it's driving me crazy. But I get to be interested in stuff and think like a filmmaker as I'm buzzing about the world and then see an opportunity to make a film, and then make it happen.
I am an emotional and fragile person. I observe life, I am perceptive and can read a person's body language. I have a strong journalistic streak in me, and had I not been a filmmaker, I would have become a film journalist. I have combined my perceptive and journalistic traits to create my own brand of cinema.
I think you could go back to any filmmaker or musician or artist, and look at what their input was in their formative years, and you could trace all the lines.
I live in Tuxedo Park, N.Y. and spend time in the West Village, where my wife Elizabeth Cotnoir, a writer-producer and documentary filmmaker, has an office.
I never intended to become a commercial filmmaker in the first place. What I do requires time and experimentation. Commercial work is often not the best way to get the most innovative work, because it's about money and marketing. Although advertising is now embracing non-commercial people.
I'm a filmmaker, but my working procedures are different. All my basic structuring is done during the filming. You know, how long I keep the shot, the exposure or the speed - slower or faster, etc. That's structuring. And then there is a second stage of structuring that comes later when I begin to put those pieces together.
The nature of the video camera really makes you focus on the present. Since I have always been a diarist filmmaker, not one who stages scenes with actors, it has always been about the present moment.
You know, my dad wasn't a photographer or filmmaker by profession, but on Sundays, he would take pictures of me and my family or his pals horseback riding, and it was a means of communication and affection, a means of not being so dysfunctional with each other.
For me, I want to see diversity in storytelling sources because we live in a very diverse society, and the stories are for the whole society. That's really important. For me, as a female filmmaker, when I was out on the festival circuit on 2006, I felt like such a freaking anomaly - an oddity.
What I've been doing with my misfit, so-called acting career in film from day one on my first film, 'Spanking The Monkey', is, I've kind of made a concerted effort to hijack my acting career to turn it into film school, because I've always had the blasphemous idea of becoming a reasonably competent filmmaker in my own right some day.
An Oscar means a lot of things because it's like the ultimate award for a filmmaker so it feels great. But I think you have to consider awards with some distance and not get obsessed with it. When you're creating you shouldn't think about it.
I am a filmmaker. That is all I've ever been. You know, Martin Scorsese makes films about the mob. And I make movies about food.
I understand the rules of Superman - not necessarily better than anyone else - but better than a normal filmmaker would. After doing 'Watchmen' and digging that deep into the why of superheroes, when Superman is presented to you, I felt like I was in a unique position to say 'I get this guy. I know what this is.'
If you're a writer, write. You just keep writing. And if you're a filmmaker, you keep doing what you can to keep telling your stories; you don't stay on the one. Keep moving forward and doing what you can to tell whatever story you can tell, be it via writing, be it via filming it.
I don't think of myself as a director or writer. I think of myself as a filmmaker.
Producing is so exciting because you can enable things to happen, whether it's like discovering a filmmaker who you're taking a chance on, protecting a battle and driving home at the end of the day just going, 'I'm so glad I stayed late at work and fought hard for that. Had my passion. Won that battle.'
For a documentary filmmaker, I do very well.
Whereas money is a means to an end for a filmmaker, to the corporate mind money is the end. Right now, I think independent film is very confused, because there's excess pressure in the marketplace for entertainment to pay off.
I don't necessarily see myself as an experienced filmmaker just because I've been in a few movies.
I couldn't sleep one night and I was sitting in my office and I realized that I was an independent filmmaker.
Lots of people have criticized my movies, but nobody has ever identified the real problem: I'm a sloppy filmmaker.
Francis Ford Coppola
As a filmmaker, I'm very collaborative. I don't pretend to know everything that is needed to make a movie. What I like to do is get together with a group of people, starting with developing the story and bounce around ideas.
'Looper' was a wonderful script. Rian Johnson is the real deal and a really talented filmmaker.
I love directing scenes that I'm not in because suddenly I really feel like a filmmaker which is a different thing.
Films are always pretentious. There's nothing more pretentious than a filmmaker.
A. P. J. Abdul Kalam
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