Well it's always been an element of the horror film to show us the gross out. I mean that's one option for all filmmakers making a horror film and it's not something I've found myself above either.
Lawmakers misrepresent the facts when they call the manufacturing deduction known as Section 199 - passed by Congress in 2004 to spur domestic job growth - a 'subsidy' for oil and gas firms. The truth is that all U.S. manufacturers, from software producers to filmmakers and coffee roasters, are eligible for this deduction.
I'm not one of those actors where filmmakers that I admire ask me to be in their movies. I meet them at parties and they're nice to me, but they never ask me to work with them.
Filmmakers and critics wrote about each other and sometimes very harshly. This no longer exists.
I don't find myself lobbying for projects. Filmmakers almost always come to me.
I think there is a feeling of old Hitchcock in there. There are parts that are tributes to some of the old great horror movies and the old great filmmakers.
A lot of first-time filmmakers are almost apologizing for their movie by saying, 'Well, we only had 18 days to shoot, you know.'
I think independent filmmakers, documentary filmmakers - they are journalists.
I find a lot of young filmmakers make too much of an effort to be trendy and they can be pretentious.
Catholicism is so steeped in imagery. It's one of the many reasons Catholicism has given birth to so many great filmmakers compared to the Protestant tradition - even in America, where we're primarily Protestant.
Thrillers are an enormous amount of fun for filmmakers.
I'm drawn toward filmmakers who have a very distinctive voice. I really appreciate people who push themselves and, therefore, push the medium forward.
It is an honor for me to take part in Canon's Project Imagin8ion, partnering with a brand that is empowering young filmmakers and is at the forefront of technology.
This generation of filmmakers is very good. They're seasoned, for some reason.
Tribeca Film Festival Doha will promote Middle Eastern themes and filmmakers, but not exclusively. Approximately 40 films will be presented at the new Museum of Islamic Art and in cinemas across Doha. Innovative work by established filmmakers will be shown alongside the debuts of newly discovered directing talents.
I look for projects with filmmakers who want to make things that give the audience a fresh experience.
I've always thought that guns are a cowardly tool in the hands of men and women trying to solve problems with each other. And cowardly in the hands of filmmakers. It's taken so lightly in films.
What I think happens today is that a lot of filmmakers look at other films that are retro pieces, like L.A. Confidential, and say, oh, that's period. We didn't want to do the stereotypical stuff.
Good filmmakers make bad films; it happens.
I don't think it's the job of filmmakers to give anybody answers. I do think, though, that a good film makes you ask questions of yourself as you leave the theatre.
I really want to be the black Tina Fey, where I just am able to produce my own content and produce other content for other minority filmmakers and put their voices on screen and basically be able to have free range to produce.
Iranian filmmakers are not passive. They fight whenever they can, as creative expression means a lot to them. The restrictions and censorship in Iran are a bit like the British weather: one day it's sunny, the next day it's raining. You just have to hope you walk out into the sunshine.
I was very inspired by Les Blank's film 'Burden of Dreams.' I think what's unique about his film and the two I've made is that they're close examinations of filmmakers and how their own emotional experiences reflect in the material they're rendering, and vice versa - how that material sometimes colors their own lives.
I've always been very ambitious, and I always knew that I wanted something else. Cuba was a good start, but I knew I wasn't going to develop a real career, and I wanted to get closer to filmmakers that I wanted to work with.
I think documentary filmmakers need as much protection as possible under journalist's privilege. How else is the public to know what is going on?
I feel safe in saying this, and that is that Peter Weir is without a doubt one of the greatest filmmakers of all time. I'd open a door in a movie for him if he asked me to.
There's always been a struggle with filmmakers between art and industry, and you have to find a balance.
I think it's important that filmmakers look at the technology and figure out how to make the theatrical experience a little more exciting.
What I would say to filmmakers, if I may be so bold or so arrogant, is to draw inspiration from other filmmakers, but go to the place in your own gut where everything is nothing. That's a very Zen thing to say, but that place of nothing is where real creativity comes out of.
I feel like, on a more macro scale, there's started to be a relationship between filmmakers and people who watch their films - you know, on Twitter and on the Internet.
Hollywood is a wonderful machine for making big movies. In France, we make smaller and more personal films, but if things keep changing, this will disappear. The industry in Italy is practically gone. Cinecitta now is used mostly by filmmakers from others places, like Martin Scorsese.
Look, I'm going to take full advantage of this situation just because I love working with great filmmakers. But I've been around for a while, and I'm not going to play into the hype that I'm some great, you know, discovery.
When that happens - when risk is taken and the filmmakers dive into the subject matter without a parachute - very often what you get it something with those qualities that make it age well with the public.
With newspapers cutting foreign bureaus and budgets shrinking for long-form, investigative journalism, documentary filmmakers are often filling a void nowadays in the media landscape with their ability to spend time with their stories and subjects.
I think it's our obligation as filmmakers, as people investigating the world, to create the reality that is most insightful to the issues at hand. Here are human beings, like us, boasting about atrocities that should be unimaginable.
We've gotten to a point where it costs so much money to make a movie that directors and filmmakers feel they have to make sure that everybody gets it. And that's an unfortunate development, I think, in a lot of narratives floating around in the film industry.
