Zitat des Tages über Filmemacher / Filmmakers:
There's so many things I want to do. I want to work with great filmmakers, great actors, great scripts. And there's no reason for me to do anything short of that, because I'm 24, I don't have a family, I don't need to make tons of money, and I'm not dying to get famous.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
When I talk to some of the younger filmmakers, they are so worried about their films that, eventually, this state of being worried reflects itself in and helps the final work. Whereas, with projects that are meticulously planned, you look at the end result and it is full of emptiness.
The filmmakers have a story they want to tell, and they go get the material they need for it. The film either exceeds or fails to meet up to their expectations or it's different.
We are here predominantly to support independent filmmakers and their needs. We are also here to assist people actually in their production, non-commercial people in their production.
There's as much great authorship in the filmmaker community as in the literary community, and I'd love to welcome more filmmakers into the fold.
I guess I have a fascination with the idea of puppeteering. I think, in a lot of ways, directing is puppeteering. I guess I see a lot of analogies between what puppeteers and filmmakers do.
'Beyond the Lights' was my fourth film. I gained a lot of knowledge, and I'm excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of 'What's next?'
I don't think people have been able to deal with the fact that African American filmmakers can make movies about life and relationships.
I don't think you can figure this stuff out. If you could figure all this stuff out, then all the great filmmakers would come out of Yale and Harvard. It's not an intellectual process.
Television and cable have become the new independent films, in a sense, for writers and actors to gravitate towards. That's why I like short films, too; I love doing readings, audio books, working with young filmmakers; anything that keeps you from getting blase about yourself or in a rut.
I think journalists and filmmakers are keen observers. And actors must also be sharp observers as they draw their characters and their stories from what they experience around them. After all, that is what actors, filmmakers, journalists are trained to be: observers. And then they do something with their observations.
When I sit down with filmmakers, I feel like we speak the same language in a lot of ways. We watch the same movies and have the same influences. If anything, it creates a dialogue that makes my work more effective.
I think it's a mistake for young filmmakers to just buy digital equipment and shoot a feature. Make short films first, make your mistakes and learn from them.
We need more filmmakers of color telling the story. I'd like to see more filmmakers take their products out independently, put together a good commercial film and distribute it online.
Personally I find there is just as much if not more creativity among game makers as there is among feature filmmakers.
The question of religion in black America is something filmmakers don't want to touch.
A lot of young filmmakers bring their movies to my dad because he always gives lots of good editing ideas and notes. He'd be a good film professor.
In a world where we can all be our own filmmakers, the old elites are disappearing and there is no desire to look at somebody else's dream anymore because you can go off and make your own.
I always tell aspiring documentary filmmakers, 'You have to go into it because you love it; if you go into it for the money, you're an idiot.' The number one prerequisite is you have to be intensely curious. If you love learning and trying to make people figure out what makes people tick, it's the best job in the world.
I only want to work with interesting filmmakers.
Genre expectations can kill creativity. If you do something different, it will get hated. The best filmmakers can do everything on the approval list and knock it out of the park. For me, I have a hard time being creative when I have to color in between the lines.
Our responsibility as filmmakers is to make things that are fresh, unique and original.
That's my advice for indie filmmakers: Marry a supermodel.
I'm always coming back with too much footage. Most filmmakers do, but I'm always surprised that it keeps happening to me.
I just want to keep doing things completely different from the other. I just want to keep working with great people, great filmmakers and great actors and just building on that experience.
In 1962, we created the Filmmakers' Co-Op because nobody wanted to distribute our films. If we had the Internet in those days, we wouldn't have needed the Co-Op.
Simply, the majority of the most interesting filmmakers are the ones confronted with difficult situations. Their creativity blows a hole in the wall and lets in the light.
You can't work in the movies. Movies are all about lighting. Very few filmmakers will concentrate on the story. You get very little rehearsal time, so anything you do onscreen is a kind of speed painting.
I will say that comic books are not the easiest things to translate to film, number one. Even the most well meaning of filmmakers find what's acceptable on the printed page is very difficult to bring to film.
Teaming up with Adaptive Studios and Shudder is a wonderful opportunity to support emerging filmmakers in finding the new horror icon. This is also a great chance to scare and entertain audiences at the same time.
I've always worked with a team of actors and filmmakers ever since I was a kid in Michigan making Super-8 movies.
I didn't start out thinking that I could ever make films. I started out being a film lover, loving films, and wanting to have a job that put me close to them and close to filmmakers and close to film sets.
If you look at the most meaningful science fiction, it didn't come from watching other films. We seem to be in a place now where filmmakers make films based on other films because that's where the stimuli and influence comes from.
I love movies that are just straight-up exploitation, but the ones that endure and the ones that last are the ones where the filmmakers put in that extra level of thought; after 25 years you put them on in front of an audience, and they'll respond to it and enjoy it.
As intelligent and responsible filmmakers, working in a free society, we have a duty to ensure that our chosen medium is a force for good. Especially in this ever-more complex and difficult world.