Filmmaker Quotes

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.

The terrorists who committed the 2003 Istanbul attacks were locals, that is, Turks. And when filmmaker Theo van Gogh was murdered in the Netherlands last year, the murderer and his supporters were also part of the Muslim community.

Even from a really young age I was a huge movie buff - five, six, seven, eight. Just loved movies, but in a more in-depth way than most kids that loved movies at that time. I'd find a filmmaker or something and want to see all his movies.

I'm a filmmaker who decided to go to culinary school. All I picked up was the fact if I didn't understand what was going on with every single ingredient, I could be qualifying for, like, the lunch food job at my daughter's school.

I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.

I love directing scenes that I'm not in because suddenly I really feel like a filmmaker which is a different thing.

I couldn't sleep one night and I was sitting in my office and I realized that I was an independent filmmaker.

I'm really interested in having a studio one day and being a filmmaker.

I feel like I'm a filmmaker; I don't feel I need to yell action and cut.

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.

But I did on projects that I produced, that I directed, that I acted in because it was important. I want to be a filmmaker. I don't want to be an actor who directs, I want to be a director. I want to be a filmmaker. So that's a big difference.

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.

I call myself a feminist, not a feminist filmmaker. If somebody asked me if I had a feminist sensibility it would be pretty hard to deny, but is it the theme of my work? Not necessarily. I'm interested in a lot of things.

There's got to be something you want to tell and that's the engine which spurs all of the work you have to do in order to create the story, but you have to love some sort of nugget of what you're telling to be a filmmaker.

The filmmaker's got to make it his story and the actors have got to make it their story.

I am the luckiest filmmaker I know.

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.

You're seeing me develop, not only as a filmmaker if you've seen my earlier films, but you're seeing me kind of learn how to be a human, how my philosophy has evolved.

Well, I think one of the reasons Chicago became so popular as a filmmaker location is because New York had been used so many times that Chicago, I think, was rediscovered maybe in the late '60s, early '70s for a long time as a new location.

As a European filmmaker, you can not make a genre film seriously. You can only make a parody.

For a filmmaker, it's a rare chance to do a personal film on a big canvas.

I've been involved with violent movies, and then I've also said at a certain point, 'I can't take it anymore. Please cut it.' You know, you've got to respect the filmmaker, and it's a really tough issue.

One of the things I've learned as a filmmaker is to have some aspect of the movie be something that I admire greatly, whether that's an actor I'm working with, the subject matter, or a book.

I don't think of myself as a director or writer. I think of myself as a filmmaker.

I'm not a politician; I'm lucky to be a filmmaker and to be able to express myself through the films I make.

A filmmaker can never be distant from his roots.

I don't really pay attention to the filmmaker thing.

It's just incredible. When you're French, coming from a non-English language country, you don't even dream about Oscar recognition or nominations. It's just beyond the dream. It's something very, very special and unique. It's the highest recognition any filmmaker could dream of.

As a writer, or as a filmmaker, you have to present yourself, and part of what yourself is is what you're interested in, or what you think is funny, or what you think is sad, or what you think is horrible.

The world is a crazy, beautiful, ugly complicated place, and it keeps moving on from crisis to strangeness to beauty to weirdness to tragedy. The caravan keeps moving on, and the job of the longform writer or filmmaker or radio broadcaster is to stop - is to pause - and when the caravan goes away, that's when this stuff comes.