Best 146 quotes in «filmmaker quotes» category

… this is my first language.” {on Writing}

Oscar may be the world’s most glorious way of honoring your work, but the real award for a filmmaker is the contentment which you receive from making your film.

Without art, a film is pure wastage of time and resources.

A filmmaker doesn't have to suffer to show suffering. You just have to understand it. You don't have to die to shoot a death scene.

A lot of people get stuck, like, "Oh, if it's made by a studio, it can't be independent." Often they link it to the source of financing, or how it's distributed, but I don't really know how you can. A filmmaker will take his money from anywhere. It doesn't matter.

A Great Movie Evolves when Everybody Has the Same Vision in Their Heads.

A lot of times you get credit for stuff in your movies you didn't intend to be there.

As a filmmaker I cannot make anything beautiful. I'm Platonic in that sense.

As a filmmaker, it's important to sit there and feel embarrassed. If you feel embarrassed by something, you cut it.

As a filmmaker you get typecast just as much as an actor does, so I'm trapped in a genre that I love, but I'm trapped in it!

A director must be a policeman, a midwife, a psychoanalyst, a sycophant and a bastard.

As a filmmaker you have to keep asking yourself the question are we really going to impress them [audience] either by the wow factor, the intelligence factor, the I didn't see that coming factor?

As a filmmaker, you're always supposed to be with your characters, in all movies, even if they're villains.

Being snarky and smug doesn't equate to providing insight, and there's more than one occasion when the filmmakers lose sight of this in their zeal to spread the Gospel According to Maher.

As filmmakers, you're not working on just one project, you're producing something, directing something, shooting something, and so it becomes hard to do it by yourself.

Because I'm a filmmaker at heart, I know a villain can't be too humanized and the audience can't empathize with him too much.

As filmmakers, the Western is a historic, cool thing to be a part of once in your life.

Being a filmmaker is kind of like being a glorified spy.

Casting is 65 percent of directing.

Censors tend to do what only psychotics do: they confuse reality with illusion.

Don't let anyone tell you otherwise - not our political opponents, and certainly not a disingenuous filmmaker, who would have us believe.

Capitalism would have never let me be a filmmaker, living in Flint, Michigan with a high school education. I was going to have to make that happen myself.

Each one [movie] is very important to us and from a fiscal responsibility, filmmakers understand that it's highly personal for us and they've been great about it.

Everybody's a filmmaker today.

Filmmakers get into trouble when they're watching too many DVDs and quoting all the time.

David O. Russell is probably my favorite filmmaker. He's not only a great director, but he's also a great writer.

Filmmakers and artists always thrive during more liberal times.

Filmmakers have to find the right materials to match their [voice].

I always think shooting dance is a sort of test of a filmmaker.

Filmmakers tell stories to explore human nature, which is always a flawed thing.

Filmmakers began to experiment with special effects almost as soon as motion pictures were invented. The history of special effects is the history of motion pictures.

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 am a filmmaker fanatic. I have never been star-struck by an actor once in my entire life.

He [Michael Cimino] wasn't the typical filmmaker. I don't know if he had more in him, he certainly had a lot of scripts. I know he wrote a hell of a lot.

I am always striving to be the best that I can be as a filmmaker.

I became a filmmaker because I wanted to deal with issues that intrigued me, that I thought were pertinent, that would start dialogue.

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

I can't change my gender, and I refuse to stop making movies.

I come from a family where my father is a filmmaker and professor of film.

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

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 pay attention to the filmmaker thing.

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

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.