Best 146 quotes in «filmmaker quotes» category

I don't consider myself a sociologist, I consider myself a filmmaker, among other things. Maybe an asshole but a filmmaker.

I don't consider myself to be particularly gifted in the way that other filmmakers are gifted.

I don't know where my next movie is going to get financed or if it will. I think every filmmaker is probably worried about that, unless their movie made a fortune. My movies make a profit, but obviously not a fortune. So yeah, it's scary.

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 don't really pay attention to the filmmaker thing.

I don't need to prove that I'm some great international filmmaker. It's not really on my list of goals.

I do think it's possible for me to go back to the studio, and for a lot of women filmmakers to be going back into studio filmmaking with a different sense of their own agency, and a different sense of the respect that they can command. When you asked the question about whether women want to be making big studio movies, the answer is almost always yes. It's just, how do they want to be treated? What is that experience going to be? And if you know the experience is gonna be shitty going into it, I personally am at a place where I'm not willing to punish myself any longer.

I don't think that any Icelandic filmmaker feels like he belongs to Icelandic filmmaking, because nobody really knows what it is.

I have wondered if I might be placed on a watch list of some sort by the government, though. I know that the documentary filmmaker Laura Poitras, who is a friend and who has made documentaries about controversial Middle Eastern terrorists has had trouble at customs when she travels internationally - but nothing like that has happened to me.

If we're going to be considered horror filmmakers, we have to prove it not only to ourselves, but to the audience that we can actually make something scary.

I keep trying to train myself to stop saying 'filmmaker' and start saying 'storyteller.' We're telling stories.

I hope to continue my friendship with France and its filmmakers for many years to come.

I hope I don't just do the exact same thing my whole life. I also feel like it's really hard to make comedy. It's almost impossible for comedy filmmakers and directors to stay relevant as they get older.

I keep pushing buttons and trying to grow as a person and as a filmmaker.

I knew that I always wanted to be a filmmaker, an actor, a writer and a director, that was always my plan.

I like to believe that love is a reciprocal thing, that it can't really be felt, truly, by one.

I like Spike Lee a lot. He's incredibly gifted and I don't think he gets the credit he deserves as a filmmaker.

I look at other filmmakers and see skills in them that I wish I had but I know that I don't. I feel like I have to work really hard to keep myself afloat, doing what I do. But I find it pleasurable.

I'm always cribbing from real life. I'm not a very creative filmmaker.

I love learning from the filmmakers that I'm working with, but more importantly, I love learning from the crew.

I love the studio system. Love that studio system and all their money. They're great; I think they're fabulous . You know, what it is right now is I feel like I'm still learning as a filmmaker, I'm still starting out.

I'm a filmmaker, not a scientist.

I'm both an artist / filmmaker and a human rights defender.

I mean, frankly, I'm not speaking as a representative of Disney or Pixar, I'm speaking as just myself as a filmmaker: I don't go into anything that often thinking about a sequel.

I mean if politics was my main motivation I would be doing politics. But I'm a filmmaker.

I steal from every movie ever made.

I meet all these American filmmakers that film for months and months, and it's a mystery to me. I couldn't make a film like that. I have to be very clear in what I'm doing and where it's going, and be very disciplined about what I film.

I'm not a master; I'm just a hard-working filmmaker. I would like everyone to see me as a friend rather than a master.

I only work every five years. It's exhausting. I've got a family, and I want to be a really good parent, as well as a hopefully good filmmaker.

I'm more influenced by novelists than I am by filmmakers.

I'm very happy to be involved with great filmmakers.

In pre-school, I was drawing dinosaurs - I was huge into dinosaurs. I wanted to be a paleontologist, not a cartoonist or a filmmaker or anything like that - just a paleontologist. So I would draw dinosaurs.

I still consider myself to be an amateur filmmaker. And I say that because in the Latin origin of the word amateur is the word love, and it's love of a form, whereas professional implies something you do for money or for work.

It didn't get into Sundance although I showed a rough cut which is a mistake to all filmmakers out there.

I tried to take advantage of the fact that I was not used to making a movie. Movies are still so new to me so I had to use my fascination, and the fact that I'm almost a teenage filmmaker, to my advantage. And that's why I don't pretend to have made a good movie... but one that people are able to feel the love I have for this industry.

I think Frank Capra was a much craftier filmmaker, a wonderful filmmaker. He had enormous technique, and he knew how to manipulate the public quite brilliantly.

I think I'm a prudent filmmaker.

I think independent filmmakers, documentary filmmakers - they are journalists.

It's funny how it reads like a Kubrick-inspired moment, a filmmaker controlling one's mise en scène. What it truly is is a documentary moment.

It's my experience that endings are never easy, and I think I'm not alone among filmmakers or writers in this.

I wanted to just be a filmmaker, and I thought I wanted to do all the aspects, and it seemed like as a producer was the best way to do it, because I could have... You never have control on a movie, but you have as much control as you can. You can push it through, and you can hire the right people.

I wanted to just be a filmmaker, and I thought I wanted to do all the aspects, and it seemed like as a producer was the best way to do it, because I could have... You never have control on a movie, but you have as much control as you can.

I've always felt really lucky to get to work with really great filmmakers. For me, the whole objective is just to hopefully be of service to what they want.

I would always rather do a mediocre script with a great filmmaker than a great script with a mediocre filmmaker.

I want to work with great filmmakers and great actors and get better as an actor.

I was both charmed and moved by Midday with Buuel, Mexican filmmaker and writer Claudio Isaac's personal and very poetic recollection of his friendship with his mentor, the Spanish surrealist Luis Buuel.

I was very committed to the process of composing, working at poems, putting things together and taking them apart like some kind of experimental filmmaker.

Louis Malle was the best filmmaker I've ever worked with. He was such an artist. He was dealing with the theme of innocence and experience.

Movies took you right up to the edge but kept you safe.

Many filmmakers pretend that they never see anything, which has always seemed odd to me.