Best 122 quotes in «filmmaking quotes» category

I like shooting things in single takes. You have to rely on the idea itself to carry the full weight; you're always watching the idea, not the filmmaking.

I'm going in a really weird I-don't-know-where direction, but I prefer anything [different] from how standardized filmmaking has become.

I love independent filmmaking. I don't agree with a lot of it, but that's the point.

I love writing, but I stopped because I felt I was more effective approaching filmmaking from a different vantage point.

I'm Godless. I've had to make my God, and my God is narrative filmmaking

I'm Godless. And so I've had to make my God, and my God is narrative filmmaking, which is -- ultimately what my God becomes, which is what my mantra becomes, is the theme.

I really got into filmmaking through photography.

In 3-D filmmaking, I can take images and manipulate them infinitely, as opposed to taking still photographs and laying them one after the other. I move things in all directions. It's such a liberating experience.

Independent filmmaking has always been there and it's not to be forgotten.

It seemed like there were so many options in filmmaking before. If they don't want to make it, well okay, there's a hundred other places we can try. I'm not a producer and I don't even know the places my producer goes to, thankfully. But I think there are far fewer options now to releasing a movie theatrically or to getting the financing.

I see filmmaking as a business and pity anyone who regards it as an art form.

It was amazing how much rehearsal helped with the performance - it was almost a theatrical approach to filmmaking.

I view filmmaking as a director's medium.

I would like to find a way to embrace what Led Zeppelin did, in filmmaking.

John Hughes had such a huge impact on filmmaking.

Long, long before I became a filmmaker I was talking to killers. Filmmaking was an after thought.

My god is narrative filmmaking.

One of the nice things about the world of filmmaking is that you make friends in the business.

One of the things that I do like about filmmaking is that you find out how to solve new problems.

Satisfying myself is the point in filmmaking, in my mind.

It's difficult to find new solicitations, new expressions. But this is talking about filmmaking. Cinema.

I'm doing a lot of research right now on what's happening in Arizona. That's where I'm at with more conventional documentary filmmaking. I think it is an urgent cause. I think I need to make something. I'm a part of it. Everybody's a part of it, and this country needs to know what's happening there in a very truthful way.

The good thing about the Anvil school of filmmaking was that it was fly by the seat of your pants. There was no safety net.

The only safe thing in filmmaking is to take a chance.

There's always been this strand of filmmaking in Britain which is like socialist neo-realism. That's always been there. I've never been part of that, really; I've been much closer to fantasy.

The test audience holds a great deal of power in the process of filmmaking in the United States.

To be animating at the same time, it's the ultimate freedom in filmmaking because you can literally put anything on the screen that you can imagine.

We actually try our best to be non-biased, but for me, that was the best movie ["Sicario"], filmmaking-wise and storytelling-wise, and connected to me the most. I thought it was great.

What I do like is hiking. And that's what filmmaking is. It's a hike. It's challenging and exhausting, and you don't know what the terrain is going to be or necessarily even which direction you're going in... but it sure is beautiful.

What is filmmaking but groping in the dark?

What's great about documentary genre, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of "documentary.

When your characters are really living they tell you what they do.

Why I'm interested in filmmaking is because a moving image is very, very powerful when it comes to changing human behavior.

Wong Kar-Wai is a really great inspiration. He's always referred to as the Jimi Hendrix of filmmaking.

All film technique, I am convinced (and like many of my theories I am probably alone in adhering to it), originates in dreaming. We could dream slow motion before the moving camera was invented. In our dreams we could cut between parallel actions, we assembled montage shots long before some self-important Russian claimed to show us how. This is where film derives its particular power. It re-creates on screen what has been going on in our unconscious.

All tales, then, are at some level a journey into the woods to find the missing part of us, to retrieve it and make ourselves whole. Storytelling is as simple - and complex - as that. That's the pattern. That's how we tell stories.

The "If you build it, they will come" approach to filmmaking has always been helpful to me.

To make filmmaking interesting to me, I want to keep learning things.

All FILM directors are good actors, because you have to understand actors in order to program them.

A movie is not a movie, it is a potential nuclear furnace of inspiration, courage and conscience.

A number of Chinese filmmakers, including Chen Kaige and Li Shaohong, imitated Zhang's visual style in the early 1990s by multiplying various erotic images of the oriental Other for global consumption. Consequently, these films, usually sponsored by multinational corporations and catering to the tastes of global audiences, can be perceived as following the same model -- the Zhang Yimou model. To a great degree, this model also marks the end of formal experiment for the Fifth Generation directors because they must adopt a much more conventional way of filmmaking in order to meed the demand of the global market.

Audience can live without a movie but a movie cannot live without an audience.

Collaborating on a film script involves two people sitting in a room separated by the silence of two minds working together.

Entertain, but also, give the viewer something to think about.

As important as color is to a painting, or wings to a bird. Music injects vibrancy to film and makes it soar!

Don’t let the daily routine kill your creativity. Remember who you were before you got that job.

Film gives us a second chance at a first impression.

Filmmaking is not the work of the weak-minded. It may not be rocket science, but it requires ten times more strength of the mind than that.

Film analysis enables us to recognize how the filmmakers have their magic on us, how all the constituent elements of the film have combined to create that magic. Rather than rob us of the pleasures of watching films, this approach affords us the even greater pleasure of deep engagement

Filmmaking has the power to fortify the feeble, unify the divided, raise the abandoned and inspire the ignorant.