David Lowery Quotes

Most photographers would feel a certain embarrassment in admitting publicly that they carried within them a sense of wonder, yet without it they would not produce the work they do, whatever their particular field.

An artist is nothing without his or her obsessions, and I have mine.

But I did not always know just what it was I wanted to photograph. I believe it is important for a photographer to discover this, for unless he finds what it is that excites him, what it is that calls forth at once an emotional response, he is unlikely to achieve his best work.

If a poet is anybody, he is somebody to whom things made matter very little - somebody who is obsessed by Making.

A lot of really good directors have a killer in them, as if they'd do anything to get that image. But that comes with the terrain and I don't mind it.

I guess artists are living inspiration. There's something very pure about a person that fantasizes. I like hearing their stories, watching them work. Their take on the world interests me. It's not unified.

This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.

I'm from Ohio, and I wasn't one of those kids who grew up making movies or whatever, but I always wanted to write. I was probably in high school when I realized the things I was writing weren't books; they were movies, they were visual.

I'm always trying to find something unique or a project that I can do something unique in. When the director has a vision for a piece that I've never heard before, and they can back that up with visuals and they talk a good game, I get really interested in the world that they're trying to create.

After defining an idea of what I want to achieve, through a series of storyboard images, I'll go to the ends of the earth to create it, whether that involves obscure camera lenses or the latest electronic techniques.

I like the platform to show your art and everything that goes along with that. To show your voice and hopefully find films that are more politically driven, films that maybe inspire.

I've seen many, many movies over the years, and there are only a few that suddenly inspire you so much that you want to continue to make films.

No matter how fast I could do it with the digital camera I don't think I would get the same thing out of it. The passion I have for formulating an idea stands alone. It is the important essence of what I do.

I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person's is going to be different, every book reader.

In any great art, you create a world, and you invite people into that world, and hopefully, it's fleshed out enough and you've explained it well enough.

There is no scientific discoverer, no poet, no painter, no musician, who will not tell you that he found ready made his discovery or poem or picture - that it came to him from outside, and that he did not consciously create it from within.

I'm here to make good pictures. If I don't see it, I won't touch it. I may not make a good picture, but I still gotta believe in it!

I get the best inspiration or the most creativity from real emotions.

I don't believe in development. I believe in pre-pre-production, so when I sit down with an idea for a movie, I'm thinking I'm going to make this film. I don't think about anything else.

I think you always win in storytelling when you let the best creative ideas guide you.

The dream, I think, with any project is it starts with an idea, and then somebody writes it, and the writer hopes that a director comes on and makes this piece of material visual, and both the director and writer hope that they can have actors come in and bring something to it that neither one of them expected, elevating it along the way.

The greatest thing that you have when you're a showrunner is this opportunity to create worlds.

I wrote one called 'The No Hotel.' I got inspired in 1989 while I was on a trip down to Brazil, and I didn't finish it until eight years later.

The artist is inherently a romantic to some degree, and as such, I believe in a muse. But I don't try to analyze too much where it comes from.

No director can ever deliver what's on his or her mind totally, but 'Baahubali-2' is the closest I can get in executing what I had envisaged onto the celluloid.