Filmmaker Quotes

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.

Films are always pretentious. There's nothing more pretentious than a filmmaker.

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.

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

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

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

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.

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.

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

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.

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.

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

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