Filmmakers have to find the right materials to match their [voice].
Well, I mean, the original is certainly the jump-off, it certainly is what it is, you know, I grew up around that era so I watched all those shows. The basic concept is there, it's just a different movie. Totally different actors, different filmmakers, different script, but same concept.
I think it's like the '60s - we're going to see another revolution in film where these new filmmakers stand up and take ownership of what film is and mould it into what they want.
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.
We are not documentarians, we are filmmakers.
Some black filmmakers will say, "I don't want to be considered a black filmmaker, I'm a filmmaker. " I don't think that. I'm a black woman filmmaker.
I learned early on that war forms its own culture. The rush of battle is a potent and often lethal addiction, for war is a drug, one I ingested for many years. It is peddled by mythmakers- historians, war correspondents, filmmakers, novelists, and the state- all of whom endow it with qualities it often does possess: excitement, exoticism, power, chances to rise above our small stations in life, and a bizarre and fantastic universe that has a grotesque and dark beauty.
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.
When everything is added up, the frequent blows weighted against the sporadic triumphs, this is I have to say not just a vocation, it's a great gift. But you also know this, for your work, for your passion, every day is a rededication. Painters, dancers, actors, writers, filmmakers. It's the same for all of you, all of us. Every step is a first step. Every brush stroke is a test. Every scene is a lesson. Every shot is a school. So, let the learning continue.
Showtime has given new, young filmmakers - black, white, across the board - an opportunity to make films, as well as actors who want to cross over into directing.
I know that Madonna is not a first-time filmmaker, but I have worked with a lot of first time filmmakers and I have worked with a lot of inexperienced film directors so that never has particularly worried me - I find it quite exciting - but I have never worked with a director who has had so little experience of directing who was so prepared.
My mother was an actress. My father was an actor and a director. I am the son of filmmakers.
A movie is made for an audience and a film is made for both the audience and the filmmakers. I think that The Game is a movie and I think Fight Club's a film. I think that Fight Club is more than the sum of its parts, whereas Panic Room is the sum of its parts. I didn't look at Panic Room and think: Wow, this is gonna set the world on fire. These are footnote movies, guilty pleasure movies. Thrillers. Woman-trapped-in-a-house movies. They're not particularly important.
The more unique your film is and unusual it is and difficult it is, the harder it is to get it financed. That's why a lot of good filmmakers are doing television. They do HBO movies.
Most filmmakers go out with the first feature and nobody cares.
Nobody really truly supporting independent filmmakers anymore. It's just dire. There's a lot of bad filmmaking, and there's a lot of people worshipping some terrible filmmakers. It's a waste of all of our time, if you don't feel anything. We are an age of YouTube kids. We don't care so much anymore. It's all about marketing.
I find that it's a very odd thing to think of competition when you're talking about what I still think of as art. I don't think of competing with actors or filmmakers at all. You do compete, in a way, at the box office, but we're far enough apart when both films are coming out that I'm not concerned with that either.
One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.
Most, especially the young filmmakers, do not see strength in communal or collective existence. They just think they're going to conquer the world as individuals. There is no world like that. In cinema it's always, even in Hollywood, a collective surge.
It's nice being friends over a period of time with people whose music you like so much, or other filmmakers, seeing people change, go through trials