I've had really great experiences working with first-time directors. They come at filmmaking with fresh ideas. I've been very lucky that way.
Filmmaking requires the participation and cooperation of many people. It's unrealistic to expect that you're not going to be challenged by unforeseeable forces from every direction.
I love filmmaking, and I love the process. And I would rather do nothing else. It's a privilege to be able to paint such big pictures, so to speak.
I like the feeling of making things. It's very very rewarding. And filmmaking is that type of experience, where you're forced to collaborate with so many people. You're involved in the beginning to end, you're involved with so many elements, and when it's done, you're like, 'I made this movie.'
A government institution called the Finnish Film Foundation funds filmmaking there, and I wrote several screenplays but never got any money. They were sent back to me, and they said that they were too commercial for them.
I think I read films having grown up around the pre-production and post-production aspect of the filmmaking medium, a lot more than most young people who are in acting would have experienced. I do think about scripts in a different way. I can't just read a script as an actor. I don't know how to do that.
I came to filmmaking because it's my passion. I decided I can't have it distorted or marred by someone else deciding what it should be.
Filmmaking is a great adventure. I'm as excited as a kid to be given tickets to fly suddenly to England, South Africa, America, everywhere. I'm still a 13-year-old kid, flying.
Woody is so musical in his filmmaking. I've never worked with anyone I've trusted so completely. He won't let you hit a false note.
I fell in love with filmmaking. I fell in love with criticism. I fell in love with theory, and it made me really dogmatic in my approach to choosing roles.
I don't think I can speak of the achievements of Indian cinema because it's so large next to me. It's not stopping. It's ever-growing. We are going towards the right direction. We are evolving as a filmmaking industry as actors, directors, producers, singers, musicians. Everybody just pushing the boundaries.
I think if you look at Sam Raimi and Jim Cameron, those guys know things about filmmaking that almost nobody knows anymore. They are students of film from when they handmade films themselves, you know cut films with their own hands and razor blades and tape.
My stated goal as a filmmaker is to feel something. Is to have a palpable emotion in my life, carry it through the gauntlet of the filmmaking process and try and have it land for an audience at some point during the viewing experience. That to me is successful filmmaking.
This was truly guerilla filmmaking. We shot out in the middle of nowhere in a place called Delta Flats, where basically every day was some new minor catastrophe.
I was really disappointed that Warner Bros. didn't think highly enough of my film or my filmmaking to ask me to make the new Superman.
It's only been a couple of times in my life that I've really locked horns with actors. It did not hurt the films, it just hurt the moment of the filmmaking.
'Rocket Science' is really where I fell in love with filmmaking, I think 'Camp' was incredible, but it was so bizarre, and I was trying to find my footing in this world where you don't have an audience for immediate validation.
Even on a $100 million film, people will complain that they haven't got enough money and enough time, so that's always going to be an element in filmmaking.
Working on 'The War Room' was a thrill, not only because we were given such exquisite access to the nerve center of Bill Clinton's first presidential campaign, but for me personally, it was so exciting to be producing my first film and working with documentary filmmaking legends D.A. Pannebaker and Chris Hegedus, who were the film's directors.
The horror genre is important because it promotes experimentation in filmmaking.
The moral of filmmaking in Britain is that you will be screwed by the weather.
There's a way in which filmmaking is a director's medium and television is a writer's medium, so even as TV gets more cinematic, it's still guided by the writer.
I feel like when you do things with such a small budget, it actually makes you be more creative... and allows you to concentrate more on the story and the characters. I think that there is something about dirty, gritty and raw filmmaking that makes it feel a little more natural and makes it easier to connect with the action.
I like figuring out where I need to be mentally so that I'm not thinking about the camera and that it's second nature. I want to get to a place where I can exist within the confines of what you can do with filmmaking and not have to think about it.
There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.
The process of filmmaking is very musical, you get into the rhythm and the rhythmics of how someone is, especially with Woody Allen who is very much into body language and body movement.
Filmmaking is not a job but a social responsibility for me.
However, that old mode of Polish filmmaking virtually disappeared.
Film brings together framing and light and color and performance and music and all of that. To me, everything I've done in my life has been preparing me for filmmaking.
Filmmaking is not about gender. You cannot ask a president in a festival like Cannes to have, like, five movies directed by women and five by men.
'Jaws' was the definitive filmmaking turning point for me. It came out in the summer of '75 and I saw it an obsessive 55 times. They even ran a very embarrassing article about me in the local paper, about the weird kid who's seen 'Jaws' 55 times.
I think filmmaking is a strange animal because it's anti-Democratic and collective at the same time, but I think it's all about not trying to know everything better than everybody else but making the right choices.
I even agree with the new digital ways of filmmaking, where you don't even have physical film in the camera, but to be honest, I wouldn't want to use it.
Some men don't gel when it comes to work - you have different work ethics, different opinions, different points of views, different methods of filmmaking - and we didn't gel.
I am my own worst critic, and I look at 'Death Sentence' now, and I go, 'Oh wow, I have really come a long way.' In terms of a filmmaker, I feel like my filmmaking language has really matured.
It takes great skill to tell a compelling story in under 60 seconds. These five directors have mastered the format, using their talent, craft and imagination to provide us with some of the most innovative filmmaking out there today.
