Parker Posey Quotes

We're producing a movie now, 'The Onion' Movie, and it's very difficult for me to be on the set. If I'm not right in the trenches, it's very difficult for me to watch another director, because I'm not involved and it's not exciting.

In terms of Cube I think he's very conscious of the technical aspect of the business whereas when you're just hired as an actor, you're not really secure in that part of your work and you're not really paying attention to where the camera.

The first year we actually did a lot of night shooting and the writers weren't even allowed on location.

I like hanging around the set and learning how people do things, how the set runs.

When you make a movie independently, you raise the money beforehand, and then you make the movie kind of by yourself.

The best filmmakers have a very familial attitude in sort of embracing the set, beyond the cast, with the wardrobe, and the hair and makeup, and the props, just making everybody feel very familial.

I would say that the energy on set is always the energy of the director because he's the boss.

I'm just thinking of 2001, which I think is the most expensive independent film ever made - which is great, someday I hope I will do one. But I know the parameters when I got onto this project - I have to take care of everyone, make sure that they are all on board, and this process interests me.

Kabir Khan is a director who goes out of his way to make his actors comfortable. He's very chilled out. He makes the environment on set very casual and friendly.

I've realised that to make a successful film, you have to be with a unit which is happy and positive from the beginning.

In America, I don't think you have the creative freedom that I'm used to. Traditionally, it's a producer's cinema here.

On a Spike Lee set, everybody seems to want to be there and is motivated to work in unison and do the best they can.

All my films have been larger-than-life. And since I've sat on almost all the scripts of the films I've produced, I do not compromise on aesthetics and visuals that could add to a scene.

I didn't know what a 'call sheet' meant. I'd never been out of the country before, but there I was on a ginormous set in Australia with John Boyega and thinking, 'What is going on?' He took me under his wing and broke my fear of being the new kid.

A director should be in a position where he is only directing. On the sets, he is only looking at the performances, thinking 'How I am going to shoot this?'

I've always been passionate about directing.

Aamir Khan in a sense, was my first teacher for filmmaking. He used to answer my doubts on the sets of 'Joh Jeeta Wahi Sikander.'

'Sweetback' represented an economic tour de force because I had no partners; I own it.

Before I made 'Sweetback,' I had a three-picture deal with Columbia and enough juice, if I was real clever with it, to proclaim that I wanted to do an independent film.

'The Custodian' was my first film, and there were so many lessons to learn in that week. It was really fun, but for me, I look at it as a training film, and I'm not really proud of my work in it.

I learned a lot while I was ACing and gripping for other DPs as I was coming up.

Jason Reitman is an amazing director; he's really amazing with his actors and crew.

It is easier to make a film but difficult to make it on your own terms. In that sense 'Madras Cafe' was a very satisfying experience.

I was in a very lucky position to be able to consider studio films and had decided to not go that route for a very long time until I read a script that I loved called 'Aeon Flux.'

I love being on movie sets. It's a very particular setting. And not all of the time, most of the time, there's always people you don't like, and you have to see them every day.