Steven Spielberg Quotes

Even with college, the reason I wanted to go so badly is because I wanted to major in film. I want to take screenwriting classes and learn more about behind the scenes stuff, because I love people like Steve Carell and Kristen Wiig who are able to write a lot of their own material and be so involved in everything they do.

I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.

Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.

I really enjoy working on small films.

Most of the films I've done were ruined in the postproduction, not during filming.

I think some people have a vague idea, but the general public has no clue what the actual behind-the-scenes of filmmaking is and what this profession is.

I love making movies, but a movie becomes your entire life for, like, two to two and a half years. There's no way around it; if you're really going to be serious about a movie, it has to be your life.

Shooting for Aamar Pratigya' was a completely delightful experience for the 25 days I shot for the film.

I ended up falling in love with the whole movie-making experience.

I just love the process of filmmaking.

On the set, I visit the set for a lot of the rehearsals, and there's always a writer on set. And then I'm involved in post-production, very intensely involved in editing, and the sound mix and color timing. Really, I have about nine jobs.

A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.

I became really aware that when you're making a movie, you're making it three times. You're making it when you're writing it. You're making it when you're shooting it. And then you're remaking it again when you're editing it.

Because the Pang brothers are twins, they would rotate days on set. One of them would be editing, and one of them would be shooting.

My process differs... my process for a Richard Linklater film is very different than a process for Training Day.

I find being on set very invigorating. I never have a problem with that component of it, no matter the situation.

On film, you can't do it over again. And you do have to stop shooting at a certain point.

There are many ingredients that go into making a film. It baffles me, what works and what doesn't.

People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.

Film is a great tool to play with time, going back and forth through time, or speeding time up and slowing it down and do stuff like that. That's something you can't experience in real life that you can experience on film, and it takes you to a different place.

[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.

I love the process of making films and an incidental satisfaction is the fact that most of them made money.

I think that the process of making a film is an underrated factor in how that film turns out.

Obviously, you never shoot the scenes of a film in order or only very rarely.

I did a film that I shot in 24 hours that was self-financed for $5,000. It was a feature called Looking For Jimmy that I shot with a bunch of friends. I spent eight months editing because we had 24 hours of footage that made no sense and I learned a lot about directing while editing that film.