Columbus Short Quotes

I've always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.

I went to USC and tried to learn about the other side of the camera a little bit.

Well, I've learned something from Michael Robison just about maximizing your shots. For example, if I'm shooting a scene and someone's driving at the wheel, you could steal an insert in the same shot.

When you shoot a movie, the camera is always taking, taking, taking and not giving anything back.

I'm one of the few directors that actually shoots a lot in camera.

I was in film school as an undergrad with a focus on directing. Once I started working on shoots, I realized, 'Oh, I really like this cinematography thing.'

I went to film school to direct.

I've always loved films, and I always felt like a storyteller. I left Norway after high school and moved to Manhattan and went to film school in Manhattan. That's when I really found out that this was my calling and what I wanted to do.

Whatever I was able to do with those experiences certainly contribute to whatever I'm able to do as a director. The corruption in that is that most of what I acted in the last 10 years was to steal film school time from these guys. Those were the people I thought I could learn from as a director.

I went to NYU graduate film school and met Pam [Romanowsky], and after doing a few things with her I thought she had the right sensibility and that she could figure it [The Adderall Diaries] out.

And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.

I learned how to direct by being in the trenches of movies. Getting to be a student from the inside looking out, and if you're a respectful observer you can sponge lots of information. That was my film school.

Every scene is a lesson. Every shot is a school. Let the learning continue.

I keep joking that I'm in Jason Reitman Film School, because I keep asking him questions every single day about directing and I have a list of things that he's told me to do and not do and I definitely couldn't learn from a better person.

I am interested in all aspects of filmmaking, so I have an opinion on every aspect, so sound design, score, cinematography, editing - all that stuff I have experience doing myself, so I had a very strong idea of what I wanted, and I got, for the most part, people that were able to articulate that idea, which was nice.

I started learning filmmaking by joining a weekend film school in Bengaluru. I made some amateur short films that got appreciation from people around me.

Three years at the institute had not taught me as much as two weeks on the sets of 'Susman.'

I graduated from the American Film Institute in 2010, where I studied as a director, and came out with a few features I really wanted to make.

I got into film school. I went and didn't know anything about it. Over the course of two years, I kind of got kind of good at it. You know, I had a brief moment where I wasn't sure if I could do it. I didn't know you needed light to expose film.

I came out of film school and went after movies that I thought audiences wanted to see or that the studios wanted, as opposed to the movies that I wanted. Over the last 10 years, I've gravitated more and more toward the films that I grew up loving - classic Spielberg, Lucas, James Cameron and Ridley Scott movies.

Often people going into directing want to learn as much as they possibly can about "technique." And I say the hell with that.

I have a new respect for filmmakers, that's for sure, 'cause it's not easy. If I'm allowed to, I'll be directing for the rest of my life. I love the process.

I run my own film school, the Rogue Film School, and I do it over three and a half days, eight hours non-stop everyday; alone, single-handedly. But the difference is in the Rogue Film School I do have real human beings in front of me from all over the world, and of course there's this course as well, they can ask, talk about their problems and obstacles, finances, anything, you just name it. Whereas in the Masterclass, you are speaking to cameras.

I have absolutely no skill set that would suggest that I would be able to do directing. [...] If I were able to, I'd like to get into that.

I'd prefer not to act in the film I'm directing. I think, though, as an actor, you do learn how to turn things on and off quickly and kind of compartmentalize. You learn to accommodate the camera and the other actors, to notice where the boom is and where you mark is, and be able to repeat something a few times.