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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.
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.
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'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.
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.
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.'
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.
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.
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.
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.
Lots of people have criticized my movies, but nobody has ever identified the real problem: I'm a sloppy filmmaker.
Francis Ford Coppola
I couldn't sleep one night and I was sitting in my office and I realized that I was an independent filmmaker.
Films are always pretentious. There's nothing more pretentious than a filmmaker.
I don't necessarily see myself as an experienced filmmaker just because I've been in a few movies.
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 had pictured myself as a filmmaker but I had never pictured myself as a director if that makes any sense at all.
Martin Luther King, Jr.
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