Takashi Miike Quotes

It was important on The Shipping News to have my house far enough away from each location so I had this time in the morning to think about my shots and still remain open to surprises once I got to the set.

In making films, you're dealing with hundreds of people and a crew, but eventually, it's you and an editor, and that part of it, I liked it a lot. The experience on 'Up in Smoke' was great. I really enjoyed it.

I suppose directing on set is the most fun because it's a good crack and you feel you're on the battlefield whereas writing is a fairly solitary undertaking.

Making a movie is difficult enough to sort of have a premeditated length that you're going for. I don't know a single filmmaker on the planet who does that.

I have never been sorry to see my sets being struck, provided they are well photographed. They're not works of art but part of making a film.

Get out and make films. There are so many cameras now to suit any budget, so there are no excuses.

I work in film, TV, commercials and do live PR stunts for companies. A lot of my time is spent reading scripts and looking at designing sequences, speaking to directors and producers about how they want the sequences to look, how they will work and budgeting those stunts.

Occasionally, I'll direct if there's something I feel strongly about. Having done it has whetted my appetite to do it again, but I don't feel an internal pressure to direct. It certainly will make me a better producer, because I'm more empathetic; I really appreciate now what the director is going through every day.

I've always been fascinated with everything behind the camera and in front.

I love the process of working with a filmmaker and the writers and the actors.

I think I've always wanted to direct, but I didn't go to film school. I was lucky enough to work in movies, and I think those became my film school in terms of acting and watching directors work and also writing and co-writing and producing.

'Tangerine' being my fifth film, I was out of favors. I couldn't afford to get the Arri Alexa or RED cameras and I definitely couldn't shoot on film.

When I did 'Gilbert Grape,' Lasse Hallstrom let me be on the set with him and in the editing room and in the casting sessions and so on. And so I got a firsthand, rather intimate, high-pressure look at how to make a film.

If you have to make a story in 10 rupees or you know that at this stage you can get only 10 rupees then you cut down on your expenses. But when one has made four-five films one likes to broaden the horizons.

Shooting on location and dressing locations in Los Angeles is shockingly expensive, especially when you're talking about webseries-level budgets, so the opportunity to build our sets in YouTube's space gives us a lot more room in our budget in being able to create the world of 'VGHS' properly.

I really enjoy behind the camera stuff and I'm a frustrated photographer myself and just love the camera. I love that side of it and that part of the filmmaking world and I enjoy developing things. It's an area that I'll continue to be more active in as time goes by.

I know what to do with the camera because I see the giant in the camera when I'm operating it live on the set.

As a director and filmmaker, I love creating my own opportunity, and getting to share the love, in that way, by creating other opportunities for people that I admire, so that they can do something in a way they haven't done it before.

If it was up to the studio, everything would be shot with a camcorder.

I'm a film geek man. I love toys. I love everything in filmmaking, so for me to just be around this technology is just so cool to watch it being used for the first time, some of the stuff.

I thought of myself as part of the general filmmaking effort. And as my scope broadened, I began to think about directing. I wanted to be the guy who got to say whether the dress is red or blue.

Movies are not scripts - movies are films; they're not books, they're not the theatre. It's a completely different discipline, it exists on its own. I would say that the beauty of it is it's not the theatre, it's not done over again. It's done in bits and pieces. Things are happening which you can't get again. I forbid anyone to say "Cut", the soundman, the operator, or whatever.

I was just trying to make a nice little movie... It wasn't until I saw it all put together that I realized this was something remarkable.

[Martin] Scorsese says one of the great things he loves about it is how Mark can't get the right shot and he's killing people because he can't get the right shot. It's an example of what film-makers are like.

Anything involving the camera, you're passionate about. Because there's no movies without it.