As a documentary filmmaker, I try to be sensitive to my subjects.
My cousin Malcolm Lee is also a filmmaker.
I mean if politics was my main motivation I would be doing politics. But I'm a filmmaker.
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.
In most films music is brought in at the end, after the picture is more or less locked, to amplify the emotions the filmmaker wants you to feel.
You have these relationships with people that you care about, but I also try to stick to my job as filmmaker and be fair and truthful about what I saw and my experience of the people, hopefully informed by a deep understanding of them.
These guys at Fox knew that as a filmmaker, I could always tell different types of stories and each can emotionally connect to a universal audience.
I'm actually part of a number of minorities. I grew up being a horribly awkward kid. A terrible student. And now I find myself as a filmmaker, and you feel kind of alone in the world because you're separate from everyone else.
I understood the importance of doing an Aaron Sorkin film. He's a political filmmaker.
My philosophy as a filmmaker is to inform and entertain at the same time. And when I went away from documentaries into miniseries like 'Roots,' I did the reverse. Instead of just entertaining, I want to inform at the same time.
I started to do theater when I was a little boy at school, and then, I think because my father was a documentary filmmaker and worked for German television, I was of course fascinated by what he did.
It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.
The idea of an animated film is you always kind of get a little bit daunted by it as a filmmaker because it feels like a lot of your communication is going to be with computer artists, and you're going to have to kind of channel the movie through extra pairs of hands.
I decided to be a filmmaker when I was 12. I had utter clarity that this would be my life.
With the Ford Foundation grant all of a sudden instead of being an artist that had made a couple of short films, I became a filmmaker who dabbled in the arts.
My style of songwriting is influenced by cinema. I'm a frustrated filmmaker. A fan once said to me, 'Girl, you make me see pictures in my head!' and I took that as a great compliment. That's exactly my intention.
In England, I'm a horror movie director. In Germany, I'm a filmmaker. In the US, I'm a bum.
It is important to keep the filmmakers interested in you so they can offer you everything and anything. We actors are not given work on the basis of audience poll; the filmmaker will cast you after they see and like your work. It is essential to do different kind of films and not get typecast.
As a filmmaker, you put the film out there, and you just want it to be okay. You don't want to let people down; you don't want to embarrass yourself.
Maybe, as a Chinese woman, I was never told I would be a filmmaker, so I didn't have the ego set up.
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.
The need to look behind the curtain is great for a filmmaker. But whether you want to deconstruct what you like as a viewer, what you like and don't like, I wish we could let films stand on their own a little bit.
What you want, as a filmmaker, is to be obsessed with and fall in love with the material.
I have no great interest in being remembered as a great creative filmmaker.
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.
I think of myself more as a filmmaker or as a film person than as strictly just a writer. I don't come out of playwriting or anything like that.
What I learned is, don't forget who you are, because that's what's going to make you a filmmaker.
I'm a filmmaker; I want to make films. I don't want to sit in a hotel room waiting to make films, and I can control my thing in Denmark; I can make the film I want to make... of course, I have to write a good script, all that, but if I do my job, it will happen.
For city dwellers like me who don't get to vacation in the summer, no filmmaker can so effectively make you feel like you went to France for August, fell in love, got hurt, broke up, grew up, and figured some things out - all in 90 minutes or so. My favorite of Rohmer's cinematic escapes is 'La Collectionneuse.'
Kenny Lonergan, as a filmmaker, doesn't tell stories so much as he observes them, which is to say, his films don't come pre-digested. You have to bring your own enzymes. It's a more gripping and challenging experience.
I love a good harsh horror movie, when it's done well. But there are times when it feels cynical. You can tell when a filmmaker loves the genre, and you can tell when someone's just cashing in a paycheck. Then it becomes a dumbing down - a fetishisation of violence that I react very strongly against.
I'm a gamer at heart and always have been. I'm also a filmmaker.
I live in New York City, the stories of my films take place in New York; I'm a New York filmmaker.
As a filmmaker, you have to understand the essence of the book and tell the story you want to see on the screen, and hopefully please yourself - because you can't possibly please everyone.
I do think Australians as a rule have a very good sensibility to them, and I think most people, if they were given the option, wouldn't choose to rip off a filmmaker or an artist - I don't think its part of the Australian psyche.
Visual effects have always been a part of this art form. And CG is simply a tool on the filmmaker's tool belt to tell a story, but when the end result is bad - maybe it's not the tool's fault.
