I don't consider myself to be particularly gifted in the way that other filmmakers are gifted.
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.
Other filmmakers make their movies and put them out and that's that. For me, for some odd reason, it goes deeper than that.
Filmmakers and artists always thrive during more liberal times.
For a film to be viable, it has to survive this process of scrutiny. I think most filmmakers have obsessive-compulsive tendencies and would be completely unemployable in any other job - so it's great to be able to channel your psychological anomalies into something productive and creative.
I always tell younger filmmakers, it's not just about the acting or the art itself. It's about how big of an audience watches your film.
Audiences are smarter than ever; they know if filmmakers cheat an environment.
It's cruel to compare two actors working with two different filmmakers on two different characters.
It's harder and harder to scare people, and filmmakers are aware of that, and they're making the movies better, and I think they feel more original, which I always like.
'Fast and Furious' is the only franchise that I've directed that I did not create from scratch. So it definitely was an eye-opening experience for me coming to that world. I had to be respectful of the roles that had been established by the filmmakers before me, and I was cool with that.
All too often, white documentary filmmakers are the ones telling the stories of people of color.
My work is better, maybe all filmmakers are better, for Polanski's imprint on cinema. He created language for all of us to use, there is no question about that.
I'm married to a nurse, and she is really, really ardent that - in screenplays or movies that I've worked on, that all the medical aspects be properly presented. I think that filmmakers ought to be respectful of all fields and not just be lazy and put nonsense in movies because most people won't know the difference.
And I feel that filmmakers ought to be careful with the use of 3D. Because if you look back over the decades, you see that 3D has come and gone for I don't know how many years now.
Early 1900s Hollywood was full of farmers battling to hold onto their land against a new influx of filmmakers who dug Hollywood's reliable weather and diverse landscape.
It's not my style to either wear minimum clothes, to strip, or to even be comfortable with a sex-symbol label. I just want to do good work instead of sporting such meaningless tags. Sex sells, but to a small extent, not always. And this is what filmmakers have to accept.
While I always thought of making sequels to movies like 'Ghayal,' the filmmakers would almost always veto the idea.
I think the thing about film is, as it gets proved by a lot of young filmmakers now, that the medium will just go on reinventing itself, and so you just hope to be a part of that and not a part of some kind of endless regurgitation or 'Here I am doing what you know I do' kind of thing.
I think, as directors, they may recognize, more than the rest of the body of filmmakers, exactly what you do as a director, because I think sometimes the conception is if the camera isn't swinging around, and it's not pyrotechnic or worthily melodramatic, then the direction is uninvolved.
Filmmakers, they tell me they want to make movies. I say, 'Good, go out, buy a $500 camera, get some friends and make a movie. Don't go to Hollywood. Stay wherever you are.'
For me, the key is years of the blessed filmmakers I've worked with giving me permission to be bold and jump off cliffs and to be boundaryless. I would put David Lynch at the top of that list.
Indian cinema is no more limited to audiences in India. We have viewers all around the world, and hence, understanding the global perspective is a must. Cinema Beyond Boundaries would get the viewers and the filmmakers together and would help us in serving them with good quality cinema.
If I had all the filmmakers that traumatized me when I was a little kid in this room, all I would say is, 'Thank you,' because they've made me who I am. As much as I say 'trauma,' it all comes from a place of love. The fact that I am feeling emotions at all based on a work is a wonderful thing, so I'm happy to be a part of that discussion.
If you aim for parody right off the bat and it misses, no offense to the filmmakers, but it is Meet the Spartans.
Filmmakers have to really find a unique take on something if they're going to explore an already-explored genre of movies.
Martin Scorsese is one of the great filmmakers of all time.
I'm very fortunate to have spent so much time in the industry and to have lived through several generations of filmmakers, actors and technicians. There's a huge volume of experience seeing people change and seeing content change.
I want to challenge myself to see where my limit is and experiment with a lot of different films. A lot of artists from Asia focus too much on their Asian background. I don't want to let go of my background, but to be a success in the U.S., which is my goal, I realize I need to surround myself with American filmmakers and producers.
I have an idea about building almost like a studio for some of the best Tropfest filmmakers, so they can come together and support and be given space and resources they need to tell great stories year around, so it's not just about the festivals. You know, the sky's the limit with this thing, and I'm still making it up as I go along.
I'm always excited when I can discover new filmmakers.
From the very beginning, I've always just wanted to do something I've never done before. I'm still just trying to be on that path. It's all about working with filmmakers that you believe in.
I've learned that I've just barely scratched the surface of knowledge of the profession, and I have deep envy of and appreciation for filmmakers who really, truly understand the physics, the design of filmmaking. They can do story and color and composition and geometry and math and science all at once.
A filmmaker chooses an actress keeping the best interest of the film in mind. If he doesn't cast you, it doesn't mean there's a personal agenda. Change is constant, and if you have agreed to be part of this industry, you will have to go with the change. The films and filmmakers, even the audience has changed.
I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.
If we're going to be considered horror filmmakers, we have to prove it not only to ourselves but to the audience that we can actually make something scary.
I think with a lot of filmmakers, their first film is their best film because they had to think on their feet and solve problems with ingenuity.
