Quote of the Day
Iranian filmmakers are not passive. They fight whenever they can, as creative expression means a lot to them. The restrictions and censorship in Iran are a bit like the British weather: one day it's sunny, the next day it's raining. You just have to hope you walk out into the sunshine.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
It doesn't matter if you're the smartest person in the room: If you're not someone who people want to be around, you won't get far. Likewise for helping those in line behind you. I take seriously my role as a mentor to young female filmmakers - I make sure my time is tithed.
It's nice being friends over a period of time with people whose music you like so much, or other filmmakers, seeing people change, go through trials.
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.
The Taliban's acts of cultural vandalism - the most infamous being the destruction of the giant Bamiyan Buddhas - had a devastating effect on Afghan culture and the artistic scene. The Taliban burned countless films, VCRs, music tapes, books, and paintings. They jailed filmmakers, musicians, painters, and sculptors.
I've been encouraging documentary filmmakers to use more and more humor, and they're loath to do that because they think if it's a documentary it has to be deadly serious - it has to be like medicine that you're supposed to take. And I think it's what keeps the mass audience from going to documentaries.
Portland is a place where you can find a community as a feminist, a vegan or a fat activist. Artists, musicians, knitters, and filmmakers can all meet like-minded souls. It's proved the perfect place for me and all my punk friends.
As filmmakers, we can show where a person's mind goes, as opposed to theater, which is more to sit back and watch it.
Most filmmakers' entire body of knowledge is of other movies. When they describe things, they describe them in relation to other movies. That's why we have so many cyclical movies that look like other movies. But I'm not cynical. I even go to some of those movies.
I think I draw most inspiration from writers like Richelle Mead and filmmakers like John Hughes. They both really understand the experience of being a teenager and how insistent and intense everything feels, but they're also smart, savvy, and fun.
I think I veered towards filmmaking because there's more of a sense of control in it. You're not waiting to be picked. That said, in film school I acted in probably 6,000 student films because no other filmmakers knew anyone who wanted to act. It was all a big beautiful snake eating its tail, progressing along the way.
Matthew Gray Gubler
I think all the great studio filmmakers are dead or no longer working. I don't put myself, my friends, and other contemporary filmmakers in their category. I just see us doing some work.
I would like to hook up with one of the great Japanese filmmakers, like the master that made 'Ringu,' and I would like to take 'The Wicker Man' to Japan, except this time he's a ghost.
Sequels are not done for the audience or cinema or the filmmakers. It's for the distributor. The film becomes a brand.
Francis Ford Coppola
'Ageism,' or whatever you want to call it, is a very English phenomenon. You don't get it too much in many other cultures. And no one says it about authors or poets or filmmakers. 'Oh, they're too old to make films or write books.'
I love indie movies. I think that independent cinema is where it's at and where a lot of trends begin. It's where new filmmakers are breaking through.
When that happens - when risk is taken and the filmmakers dive into the subject matter without a parachute - very often what you get it something with those qualities that make it age well with the public.
Francis Ford Coppola
I think documentary filmmakers need as much protection as possible under journalist's privilege. How else is the public to know what is going on?
You can't work in the movies. Movies are all about lighting. Very few filmmakers will concentrate on the story. You get very little rehearsal time, so anything you do onscreen is a kind of speed painting.
I am filled with awe that filmmakers have the capacity to stir us and give us back a sense of wonder.
I hope to continue my friendship with France and its filmmakers for many years to come.
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.
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.
I go to conventions and universities and talk to young filmmakers and everybody's making a zombie movie! It's because it's easy to get the neighbors to come out, put some ketchup on them.
George A. Romero
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