Quotes on Filmmaking

I think there are advantages to different scales of filmmaking. You wouldn't want to do just one thing.

When I was a kid, there was no collaboration; it's you with a camera bossing your friends around. But as an adult, filmmaking is all about appreciating the talents of the people you surround yourself with and knowing you could never have made any of these films by yourself.

AN ARTISTIC DISCOVERY OCCURS EACH TIME AS A NEW AND UNIQUE IMAGE OF THE WORLD, A HIEROGLYPHIC OF ABSOLUTE TRUTH. IT APPEARS AS A REVELATION, AS A MOMENTARY, PASSIONATE WISH TO GRASP INTUITIVELY AND AT A STROKE ALL THE LAWS OF THIS WORLD-ITS BEAUTY AND UGLINESS, ITS COMPASSION AND CRUELTY, ITS INFINITY AND ITS LIMITATIONS.

There are no rules in filmmaking. Only sins. And the cardinal sin is dullness.

I was going to go to a four-year college and be an anthropologist or to an art school and be an illustrator when a friend convinced me to learn photography at the University of Southern California. Little did I know it was a school that taught you how to make movies! It had never occurred to me that I'd ever have any interest in filmmaking.

My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.

Cinema should make you forget you are sitting in a theater.

THE ARTISTIC IMAGE IS ALWAYS A METONYM, WHERE ONE THING IS SUBSTITUTED FOR ANOTHER, THE SMALLER FOR THE GREATER. TO TELL OF WHAT IS LIVING, THE ARTIST USES SOMETHING DEAD; TO SPEAK OF THE INFINITE, HE SHOWS THE FINITE.

All I need to make a comedy is a park, a policeman and a pretty girl.

Performers are so vulnerable. They're frightened of humiliation, sure their work will be crap. I try to make an environment where it's warm, where it's OK to fail - a kind of home, I suppose.

A film is - or should be - more like music than like fiction. It should be a progression of moods and feelings. The theme, what's behind the emotion, the meaning, all that comes later.

I love editing. It's one of my favorite parts about filmmaking.

Every great film should seem new every time you see it.

Pick up a camera. Shoot something. No matter how small, no matter how cheesy, no matter whether your friends and your sister star in it. Put your name on it as director. Now you're a director. Everything after that you're just negotiating your budget and your fee.

Whatever your style or subject matter, in the end, film-making is about searching for authenticity - that is what the audience will divine.

In documentary filmmaking, there's a tradition of telling stories about victims. We often do that from a very patronizing place, but mostly we do it from a very selfish place, to reassure ourselves that our lives are in sympathy and solidarity with the victims.

As an artist, I feel that we must try many things - but above all we must dare to fail.

Filmmaking is exploring. Why would I want to make a film about something I already understand?

Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.

For me, filmmaking combines everything. That's the reason I've made cinema my life's work. In films, painting and literature, theatre and music come together. But a film is still a film.

IN ALL MY FILMS, IT SEEMED IMPORTANT TO ME TO REMIND THE AUDIENCE TO THE FACT THAT THEY ARE NOT ALONE, LOST IN AN EMPTY UNIVERSE, BUT THAT THEY ARE CONNECTED BY INNUMERABLE THREADS WITH THEIR PAST AND PRESENT, THAT THROUGH CERTAIN MYSTICAL WAYS, EVERY HUMAN BEING REALIZES THE RAPPORT WITH THE WORLD AND THE LIFE OF HUMANITY.