We're able to push the envelope with what we're doing, both on a technical and artistic level, which is the most that any filmmaker can ask for.
Every filmmaker's just going to keep trying to make it the best you can make it: make it as potent and interesting and entertaining and exciting and tough and sexy as you can.
You can't second-guess yourself as a filmmaker.
I don't think there is a movie that I've been on that I wasn't sure I could direct it better. But certainly also, as a director of photography, I have to serve the movie in whatever way I can as a filmmaker.
If you think you are a filmmaker... make a film, and then show it. You need to be able to finish what you started so it is presentable. When you screen it and see if your film has an effect on an audience, you will understand what it means to be a filmmaker.
Part of the process of reading is constantly hitting the pause button, and now and then the rewind button, to ponder a word that's been chosen by the author as exquisitely as the filmmaker chooses an image or a sound editor chooses a sonic clue - the tolling of a bell in the distance to evoke memory, for instance.
I'm a theater guy and a filmmaker. So when my community was thrown up in the air by the gas industry, the way I could contribute was to do something in the film world. I never thought it would be a big deal at all.
I'm a filmmaker, not a scientist.
I don't really pay attention to the filmmaker thing.
There's got to be something you want to tell and that's the engine which spurs all of the work you have to do in order to create the story, but you have to love some sort of nugget of what you're telling to be a filmmaker.
I think any filmmaker looks back and thinks, 'Boy, if we only had four hours more on that day when the sun was going down,' or, 'If we only spent more time and went back.'
I don't profess to be Shonda Rhimes by any stretch of the imagination, or Dick Wolf. They're icons. I'm a filmmaker.
I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.
An Oscar means a lot of things because it's like the ultimate award for a filmmaker so it feels great. But I think you have to consider awards with some distance and not get obsessed with it. When you're creating you shouldn't think about it.
But I did on projects that I produced, that I directed, that I acted in because it was important. I want to be a filmmaker. I don't want to be an actor who directs, I want to be a director. I want to be a filmmaker. So that's a big difference.
I thought I was going to be a filmmaker but at the same time I was an intellectual and I felt that I could make a contribution to some field, as yet, not invented.
As a filmmaker, I don't want to limit myself to one kind of movie. After 'Headhunters,' I went to Hollywood and read a lot of scripts: lots of action thrillers and heist movies, and superhero films.
It's like two years straight out of your life doing a film. It's very enjoyable, especially working with the guys, but I kind of like the idea of traveling and growing, and developing as a writer and as a filmmaker.
What I've been doing with my misfit, so-called acting career in film from day one on my first film, 'Spanking The Monkey', is, I've kind of made a concerted effort to hijack my acting career to turn it into film school, because I've always had the blasphemous idea of becoming a reasonably competent filmmaker in my own right some day.
Pop music can get inside us and enter our memory bubbles. It provides those true Proustian moments, unlocking sensations, unlocking our imaginations. Music inspired me as a filmmaker.
I really took filmmaking very seriously... It was an honor and then a crutch also, because at a young age, I was like, I guess I'm a serious filmmaker. I never set out to be a serious filmmaker. I just set out to make movies.
You can recognize almost immediately if the film you're watching is the product of some kind of a hive mind or the result of a personal vision and genuine collaborations. 'Manchester by the Sea' reminds us of the potential of the latter and, for that reason, is the kind of work that makes me, as a filmmaker, want to continue. It's inspiring.
I wanted already to be a filmmaker after I saw 'La Dolce Vita.'
It's only the filmmaker. The script is really, really second. And there's a huge gap between filmmaker and script for me. I almost don't care about the story that they're telling; I really only care about who wants to tell it.
I had pictured myself as a filmmaker but I had never pictured myself as a director if that makes any sense at all.
I always liked the idea in 'Potter' that you don't choose the wand, the wand chooses you, and that relics decide when you're ready to handle them. I'm a cinephile first and a filmmaker second, and it's all swimming in the subconscious.
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!
I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.
I've always considered myself a filmmaker who writes stuff for himself to do.
I'm a fool for a brilliant filmmaker. And for someone who wants to try new things.
I learned how to tell stories with Jay-Z on 'City Is Mine.' I learned how to film and choreograph dancing on 'Can I Get A...,' and I got to kind of be a documentary filmmaker with 'Hard Knock Life.'
I already have legitimacy as a filmmaker and now I'm trying to do stuff that's just fun. Until I find a cool tangible subject again that I want to tackle.
Redford always has been a cool presence both before and behind the camera. His best movie as a filmmaker, 1994's 'Quiz Show,' exhibits a classicism verging on self-repression, and the social indignation in many of his films engages more than moves you.
I want to go make an original movie. It's all very personal, but I want to define myself a little bit more as a filmmaker and hone my craft.
It's like everybody is shooting something, and everybody's a filmmaker; everybody can shoot a cat video and post it. So the big thing now is - for people that have talent and have something to say, and are creative, and are capable of making something good - is how do they get attention to it?
You're seeing me develop, not only as a filmmaker if you've seen my earlier films, but you're seeing me kind of learn how to be a human, how my philosophy has evolved.