A lot of film people are like that– especially the ones below the line, the blue-collar guys, the grunts. They like putting their hands on the equipment and getting it to do things for them. It’s not about art or ideas. It’s about working at something and making it come out right.

Feature filmmaking is a different kind of complication as documentary comes in the editing room.

I have often thought it was very arrogant to suppose you could make a film for anybody but yourself.

The difference between extras and audience members is that audience members don’t get chairs. Audience members are the daylaborers of the industry. When it’s sunny, we stand in the sun. When it’s cold, we stand in the cold.

Audience can live without a movie but a movie cannot live without an audience.

The varying physical characteristics of the actors may also necessitate changes. Sean Connery is six feet four. Dustin Hoffman isn’t.

The most honest form of filmmaking is to make a film for yourself.

To make a real independent film where the filmmaker is in charge creatively, one must sacrifice personal, financial, and physical well-being.

Cinema is a matter of what’s in the frame and what’s out

I always say that I am a big fan of films but I am an even bigger fan of the filmmaking craft.

Success or Failure, there should always be a Drive to Keep on Creating.

I’m Godless. I’ve had to make my God, and my God is narrative filmmaking.

Collaborating on a film script involves two people sitting in a room separated by the silence of two minds working together.

Tell yourself that the world is outside, that it’s not to be hidden from you, that you are going to thrust yourself forward and be relaxed in the world. You have chosen a field where you’re going to be hurt to the blood. But to retreat from the pain is death

Kalau begitu, kau tidak boleh menyerah. Jangan berhenti mengejar impianmu atau kau akan menyesal, Rayyi….. Kita tidak hidup selamanya, Rayyi. Karena itu, jangan buang-buang waktu untuk sesuatu yang tidak kita inginkan.

work.” You know what’s fun, indie filmmakers? Being paid for your time.

To be honest, I’ve always made films and I never really stopped, starting with little stop-motion experiments using my dad’s Super 8 camera. In my mind, it’s all one big continuum of filmmaking and I’ve never changed.

Creativity is a gift each one of us is born with, irrespective of our backgrounds and entitlement of culture, The challenge is to hold onto this gift as we go through life. To nurture it. To encourage it. Because every single day we encounter forces that would rather it went away.

The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the two senses in a governable way.Against the tactics of speed, of noise, set tactics of slowness, of silence.

Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too:...

Editing is not a part of the filmmaking process I’ve ever been privy to as an actress.

The big-budget blockbuster is becoming one of the most dependable forms of filmmaking.

Filmmaking for me is always aiming for the imaginary movie and never achieving it.

The function of camera movement is to assist the storytelling. That’s all it is. It cannot be there just to demonstrate itself.

Film is, to me, just unimportant. But people are very important.

I foresee no possibility of venturing into themes showing a closer view of reality for a long time to come. The public itself will not have it. What it wants is a gun and a girl.

End Of Men is a concoction of sex, outsider art, filmmaking and death including an Italian island

People never forget two things, their first love and the money they wasted watching a bad movie.

Most of the movies are working like, ‘Information, cut, information, cut, information, cut’ and for them the information is just the story. For me, a lot of things [are] information – I try to involve, to the movie, the time, the space, and a lot of other things – which is a part of our...

I like acting, but I like filmmaking better. I went to film school. I want to make films.

Yet in recent years I have witnessed a new phenomenon among filmgoers, especially those considered intelligent and perceptive. I have a name for this phenomenon: the Instant White-out. People are closeted in cozy darkness; they turn off their mobile phones and willingly give themselves, for ninety minutes or two hours, to a new film that...

My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected onto a screen, come to life again like flowers in water.

Filmmaking is a chance to live many lifetimes.

In drama, the characters should determine the story. In melodrama, the story determines the characters.

In order to get [Mean Streets] made I had to learn how to make a movie,” says Scorsese. “I didn’t learn how to make a movie in film school. What you learned in film school was to express yourself with pictures and sound. But learning to make a movie is totally different.

We make, see, and love films, not digitals. To convert all of our movies, home videos, theaters, photographs and television to digital would be like telling a painter to throw away his brushes and canvas for an I-Pad. Celluloid isn’t just nostalgic, it’s an art form and, like it or not, it’s superior to digital....

When given an opportunity, deliver excellence and never quit.

Movies can be a kind of advertisement for a city, a place.

I made my first film on 16mm. Then I began using 35mm.Then I began working in Hollywood. And I began to really understand how films were made by professionals. I have to say I wasn’t very impressed.

Filmmaking isn’t if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it’s about. It’s not just about getting a performance. It’s also about the psychology of the cinematic moment,...

You have to want to make a film for other reasons – to say something, to tell a story, to show somebody’s fate – but you can’t want to make a film simply for the sake of it.

Regardless of the subject of my films … I am looking for a way of evoking in audiences feelings similar to my own: the physically painful impotence and sorrow that assail me when I see a man weeping at the bus stop, when I observe people struggling vainly to get close to others, when I...

Or take this girl, for example. At a meeting just outside Paris, a fifteen-year-old girl came up to me and said that she’d been to see [The Double Life of] Véronique. She’d gone once, twice, three times and only wanted to say one thing really – that she realized that there is such a thing...