Rupert Sanders Quotes

I do love making films. I want to be a filmmaker that grows and progresses and does keep trying to push myself. I think that's it... and a bit of confidence maybe.

On 'Y Tu Mama Tambien,' we started exploring shots that are longer, where the camera is moving around the actors, and there are no cuts, and you feel like you're there.

My favorite way of making films - and what has allowed me to get key scenes in 'Cartel Land' and 'City of Ghosts' - has been when I've been able to operate alone.

I think you can say a lot with the movement of your camera but you can also say a lot by keeping it still.

I think, if allowed, 3D is a new film language. I can have more adventure exploring a new media, that's very exciting. 2D we know most of it, things haven't changed for decades; it's the same principles, so 3D's more exciting.

I really do enjoy making movies and I try to test myself on occasion with some different stuff.

I don’t feel that I’m making movies for iPhones. If someone wants to watch it on an iPhone, I’m not going to stop them, especially if they’re paying for it, but I don’t recommend it. I think it’s dumb, when you have characters that are so small in the frame that they’re not visible. I’m trying to make an epic.

The future of filmmaking is to make the canvas bigger, something you can't enjoy on your phones or computers.

My background is in filmmaking, and my mentor is Dusan Makavejev, who combined fiction and documentary.

I am a serious filmmaker, and I see the whole process of filmmaking more as a piece of art.

I learned a lot from Direk Brillante Mendoza and Bing Lao.

I think for me, what I'm doing on set is I'm watching things happen as an audience member and trying to just look at, what's the image we're photographing, how will that advance the story and what will the next image be.

I love directing my music videos and writing video treatments, and I think it's all just because I love the visual aspect of it as well.

I don't think I treat my film work as an extension of my photography. There are two different sets of rules there.

I want to be the person who eventually doesn't have to be in front of the camera. I can be behind the camera and really change things cinematically, and this is giving me an opportunity to do something behind the camera, which I really want to maximize.

I was free always. I could work without the money, to film this and that. But this is another point, because now I'm alone, and I can just use it when I want. I think the digital cameras have changed my view. Even though sometimes, including the installations that I show, I mix 35mm filming and video handmade.

I think when you pay attention to the shots, you're aware of the fact that there's a director. Really, it's the director's job to disappear and allow the movie to just feel.

I've always been a relaxed person on set, but I think the main thing is I think about it from an editing point of view way more than I did before.

Get the overall. Some of my films may have been crude at times, or tough, or missed the points, but I've tried to get the overall in. I think that's more important. You may miss a thing or two, but you move faster. If you can do it in three takes, do it in three takes.

I think maybe making films is something innate you can't really teach to begin with.

When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.

You carry that through and adapt it to a camera lens, but you're quite right, you cannot be sure of what an audience is going to do. You don't know what's going to happen to the piece you're doing anyway. You don't know how it's going to be edited. There are a lot more unknowns in cinema. But that you have to readily accept. That's when, I think, you have to forget about intellect, to a degree. Intuition is very important when you're working with a lens, I believe, for what the lens is doing, too.

I'm learning about filming, and just conceptualizing as well. I think it's a good artistic inroad, even to music as well.

Two types of films: those that employ the resources of the theater (actors, direction, etc...) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create

In moviemaking, you learn to pay attention to detail, because so much is in the detail. And when you're shooting, you try to be very alert to what's going on, even if you're tired.