David MacKenzie Quotes

There could be no filmmaking without industrywide agreement on frame rates, lenses, and audio recording equipment.

My principal job is to make interesting and entertaining films, and I'm not proud of which format or which particular technique I use. I just wanted the film to look good.

Cinemascope is not for men, but for snakes and funerals.

Nobody will ever notice that. Filmmaking is not about the tiny details. It's about the big picture.

If you could custom build new cinemas for every release of every movie, I think filmmakers would work in a lot of different aspect ratios.

I was just like, "I want to make a decent 2-D movie." I was so worried that, instead of being a decent 2-D movie, it would have been a bad 3-D one.

I have learnt a lot about theatre, and I would like to know the same about film.

I loved, in 'Starman', the use of anamorphic lenses, the creation of blue light, and Carpenter's use of the widescreen format.

I'm a filmmaker and I intend to continue making films of all kinds, in any manner, shape, or form - short or long.

My entire life was making movies.

As for me, my foundations were laid in the south. We did the post-production of 'Hum Paanch' in Chennai, with many technicians from here working for us.

I have a shot a lot of movies in Dubai.

Making movies is really hard. It's a very complex process, with many, many variables.

I like all kinds of films; 'Bommarillu' is a favourite film. But I can't make that kind of film.

There's a few things I learned from my experience on 'Hieroglyph.' First of all, I learned that building a world doesn't need to be as expensive as a summer blockbuster. Yeah yeah, newsflash, I know.

I want to make movies that I would want to watch as a fan.

It's really cool to make a movie that you're excited to go see.

By the time I got to 'St Vincent,' I had shot so many scenarios I was ready for anything - I've shot kangaroos, I've shot dogs, cats, crowds, fight scenes, stunts, comedy, drama, handheld, dolly, helicopter, crane - I just felt that there was nothing I was unprepared for.

I usually work in music videos, where we shoot, like, 10 to 12 setups and 60 shots or something.

My work on titles was a marvelous opportunity to learn about filmmaking. I think I touched on just about every aspect of the process, both creative and technical. And I worked with many wonderful people.

My father used to say it was just there, the opportunity. It was all teed up for him. The talkies were starting, and here was Hollywood waiting for people to come from New York who had the training, who could do music with a sense of dramatic context.

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 never take credit for my movie's success. I am the face of the movie, but there are numerous unsung heroes behind the scene. From the director, cameraman and editor to the light boy, everyone knows how difficult it is to satisfy the audience.

Before I became an actor, I was a producer and a visual effects supervisor. Our industry wasn't making the kind of films I was interested in.

I started doing commercials in 2008 right after we released 'Death Race,' and the reason was that I spent two years prepping Death Race and building all these custom rigs to shoot cars in the most dynamic and exciting way.