Our brains have this habit of quilting dreams from the fabrics of our lives. As a filmmaker, I get to do it for a living.
I have a few filmmaker friends who are known for shooting super-fast, and they say that you don't have the time to over-think things and how that helps things out creatively.
I don't know what to say about it except Tom Hanks is a great person, a serious person; he's dissatisfied in a very likeable way, in a very discreet way, and Steven Spielberg is similar in his discretion and drive. But Spielberg is calm. He's this driven filmmaker and visionary. He really is.
I was always interested in film, but I never knew how to go about becoming a filmmaker.
I attempt to create a form of seriocomic entertainment to either delight, enlighten, or disgust, whichever you'd like. In terms of making motion pictures, I write and direct and act. I guess you'd say I'm a filmmaker.
If I had a big brother who was a year older than me or something, I probably wouldn't have ended up being a filmmaker.
Most of all, I really wanted to become a filmmaker, and I've used every acting experience to just turn it into film school.
Frankly, I get sick of being considered a 'young woman filmmaker' rather than an individual artist, as a man would be.
I'm a filmmaker and I'm proud of the movies I've made. But in the background of my life I was also very involved in the creation of the sport.
I think, as a filmmaker, it's important to be honest with yourself at all times in terms of what's working and what's not.
I've always played that edge of fact and fiction. I used to be a filmmaker, and certainly in film that's a line that filmmakers cross more readily and more easily than novelists.
In my little imperfect way, what I'm trying to do is understand the world. As a filmmaker, you realize as you get older that each film is part of a dialogue you're having with yourself. That started when I was working in documentaries. And in a way, I've never deviated from it.
My friend, the Dutch filmmaker Theo van Gogh, was murdered in 2004 for having been insufficiently reverent toward Islam.
I didn't go to film school; I studied fine art - I learned how to be a filmmaker on everybody else's money.
Gavin O'Connor, I'd walk into a fire for that guy. He's a brilliant filmmaker and a passionate man.
As a filmmaker, the only way that I understand how to make a film is holistically.
Success stems from the producer creating the optimal conditions for the filmmaker's own creative process. Not from steering the filmmaker through a one-size-fits-all approach.
When you're told that as a filmmaker of colour, the stories you want to tell aren't commercial enough, then you start thinking, 'I'm going to tell them anyway.'
I'm the most successful filmmaker in the country; what do I need PR for?
It was never really my plan to become a filmmaker.
Whatever storytelling muscles you've developed as a documentary filmmaker will be extremely helpful as a narrative filmmaker.
I didn't have the sensibilities of your ordinary filmmaker, let alone your ordinary African-American filmmaker. My heroes were John Waters, Pedro Almodovar, and actors that were part of that world.
Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.
I try to approach the film medium as a novelist and the novel medium as a filmmaker on some level. It's that question: Do we think in pictures, or do we think in language? And the novelist believes one thing, and the filmmaker believes another thing - and I'm fascinated by that balance.
I feel like people with their camera phones and Twitter and Facebook, this kind of question like, 'How can I be present and also document my presence or document what I'm doing?' is something that's always on my mind, even when I'm not working as a filmmaker.
We've been fighting our whole lives to say we're just human beings like everyone else. When we start separating ourselves in our work, that doesn't help the cause. I've heard it for years: 'How do you feel being a black filmmaker?' I'm not a black filmmaker, I'm a filmmaker. I'm a black man, I have black children. But I'm just a filmmaker.
You can tell so much about somebody by the films they make, and it's only while I approach this do I now realize how much of the filmmaker you can see in their films.
You find a story - or more importantly, you find some characters - that you want to be around as a filmmaker. The style and how we're going to shoot it and how we're going to design it and how it's all going to feel and look depends on that story. They tell me how I should shoot it.
As a filmmaker I find it much more rewarding to work with actors who are classically trained. It's about the work and only the work.
As a filmmaker, I always try not to concern myself with the outcome of things. I make the movie, and I do that as honestly and good as I can. I don't want to pollute my thoughts with what is going to happen with it afterwards, because I have to work inside-out.
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.
I want to be able to go wherever I want to go, do whatever I want to do. I guard the material and the filmmaker.
I always wanted to be a filmmaker, but I started acting when I was 9 years old. I looked a certain part that I wasn't, really. I played, you know, a high school jock with a lot of attitude or a spoiled rich kid, and I was neither of those things. I was from a very working-class family in Van Nuys.
As a media artist and filmmaker, I'm constantly considering the role of situational context when creating my work.
I never intended to become a commercial filmmaker in the first place. What I do requires time and experimentation. Commercial work is often not the best way to get the most innovative work, because it's about money and marketing. Although advertising is now embracing non-commercial people.
I'm a filmmaker, so I always think: When is the breaking point? Sometimes you've got to go beyond the breaking point, and then you catch it. When is long enough? It's one of those things you have to look at, walk away, and go home and find out what it is.